A SCHOLARLY BOOK REPOSITORY52 start with A start with A
The novel follows Junior, a reporter for a daily Buenos Aires newspaper, as he attempts to locate a secret machine that contains the mind and the memory of a woman named Elena. While Elena produces stories that reflect on actual events in Argentina, the police are seeking her destruction because of the revelations of atrocities that she—the machine—is disseminating through texts and taped recordings. The book thus portrays the race to recover the history and memory of a city and a country where history has largely been obliterated by political repression. Its narratives—all part of a detective story, all part of something more—multiply as they intersect with each other, like the streets and avenues of Buenos Aires itself.
The second of Piglia’s novels to be translated by Duke University Press—the first was Artifical Respiration—this book continues the author’s quest to portray the abuses and atrocities that characterize dictatorships as well as the difficulties associated with making the transition to democracy. Translated and with an introduction by Sergio Waisman, it includes a new afterword by the author.
Absinthe 24 pushes and prods Hellenism beyond its geographic and cultural comfort zones, and sets it tumbling off beyond both internal and external borders of its nation-state, in a wide-ranging but always site-specific and localized itinerary. At each stop along the way, this Greekness finds its plurals—hence the “Hellenisms” of the title. While they present no unified topography, tongue or even topic, these Hellenisms map out the contours of a shared conversation. Today’s Hellenism isn’t limited to Hellas, nor to the Hellenic language. The selected texts in this volume explore Greece from the perspective of visitors, displaced persons, and marginalized people looking in, or, conversely, from the perspective of locals striving to break out.
Absinthe: A Journal of World Literature in Translation publishes foreign literature in English translation, with a particular focus on previously untranslated contemporary fiction, poetry, and creative non-fiction by living authors. The magazine has its home in the Department of Comparative Literature at the University of Michigan and is edited by graduate students in the Department, as well as by occasional guest editors.
2020 Foreword INDIE awards, longlist
From the author of the critically-acclaimed novel, I’d Walk with My Friends If I Could Find Them, Jesse Goolsby’s Acceleration Hours is a haunting collection of narratives about families, life, and loss during America’s twenty-first-century forever wars. Set across the mountain west of the United States, these fierce, original, and compelling stories illuminate the personal search for human connection and intimacy. From a stepfather’s grief to an AWOL soldier and her journey of reconciliation to a meditation on children, violence, and hope, Acceleration Hours is an intense and necessary portrayal of the many voices living in a time of perpetual war.
In these marvellously written tales, Sindbad, a voyager in the realms of memory and imagination, travels through the centuries in pursuit of an ideal of love that is directed as much at the feminine essence as at his individual lovers. He is by nature a melancholy sensualist, but whether the women he seduces and loves are projections of his desire, or he of theirs, is a moot question.
These short stories flow without a strict narrative framework Sindbad journeys between the past and the present and is merely a ghost in many of his adventures. Although Sindbad can move through time, it is time that proves his chief enemy, and youth that remains his real love. This deeply autumnal book, full of resonances and associations, is an erotic elegy to the dying Habsburg Empire.
The stories are taken from the omnibus triple-volume Hungarian edition published as The Three Books of Sindbad in Hungary in 1944, which includes The Travels of Sindbad (1912), The Resurrection of Sindbad (1916), and The Youth and Grief of Sindbad (1917).
Spanning the period from the late 1930s to World War II, this historical novel dramatizes antifascist resistance and the rise and fall of proletarian political parties in Europe. Living in Berlin in 1937, the unnamed narrator and his peers—sixteen- and seventeen-year-old working-class students—seek ways to express their hatred for the Nazi regime. They meet in museums and galleries, and in their discussions they explore the affinity between political resistance and art, the connection at the heart of Weiss’s novel. Weiss suggests that meaning lies in embracing resistance, no matter how intense the oppression, and that we must look to art for new models of political action and social understanding. The novel includes extended meditations on paintings, sculpture, and literature. Moving from the Berlin underground to the front lines of the Spanish Civil War and on to other parts of Europe, the story teems with characters, almost all of whom are based on historical figures. The Aesthetics of Resistance is one of the truly great works of postwar German literature and an essential resource for understanding twentieth-century German history.
Volume II, initially published in 1978, opens with the unnamed narrator in Paris after having retreated from the front lines of the Spanish Civil War. From there, he moves on to Stockholm, where he works in a factory, becomes involved with the Communist Party, and meets Bertolt Brecht. Featuring the narrator's extended meditations on paintings, sculpture, and literature, the novel teems with characters, almost all of whom are based on historical figures. Throughout, the narrator explores the affinity between political resistance and art—the connection at the heart of Weiss's novel. Weiss suggests that meaning lies in embracing resistance, no matter how intense the oppression, and that we must look to art for new models of political action and social understanding. The Aesthetics of Resistance is one of the truly great works of postwar German literature and an essential resource for understanding twentieth-century German history.
Volume III, initially published in 1981, teems with characters, many of whom are based on historical figures. It commences in May of 1940, as the narrator’s parents flee Nazi forces in Eastern Europe and reunite with their son in Sweden. While in Stockholm, the narrator and other Communist activists living in exile struggle to build structures in the German underground. The story then follows Communist resistance fighter Charlotte Bischoff as she is smuggled to Bremen on a freighter. In Berlin, she contacts the narrator’s friends and joins the Red Orchestra resistance group. Soon, the Gestapo cracks the underground group’s code, arrests a number of its members, and takes them to Plötzensee Prison, where most of them are executed. Featuring the narrator’s meditations on paintings, sculpture, and literature throughout, The Aesthetics of Resistance demonstrates the affinity between political resistance and art. Ultimately, Weiss argues that we must look to art for new models of political action and social understanding.
Deleda's tragic story of poverty, passion, and guilt portrays the primitive and remote world of the church, pre-Christian superstitions, and laws dictated from the mainland, in her native Sardinia, where society hangs in a delicate balance. Once this order is disrupted, none of these characters can escape the spiral of destruction dictated by fate, God, and society.
Lost in a shipwreck in 1895, rewritten before the author's suicide in 1896, and not published until 1925, José Asunción Silva's After-Dinner Conversation (De sobremesa) is one of Latin America's finest fin de siècle novels and the first one to be translated into English. Perhaps the single best work for understanding turn-of-the-twentieth-century writing in South America, After-Dinner Conversation is also cited as the continent's first psychological novel and an outstanding example of modernista fiction and the Decadent sensibility.
Semi-autobiographical and more important for style than plot, After-Dinner Conversation is the diary of a Decadent sensation-collector in exile in Paris who undertakes a quest to find his beloved Helen, a vision whom his fevered imagination sees as his salvation. Along the way, he struggles with irreconcilable urges and temptations that pull him in every direction while he endures an environment indifferent or hostile to spiritual and intellectual pursuits, as did the modernista writers themselves. Kelly Washbourne's excellent translation preserves Silva's lush prose and experimental style. In the introduction, one of the most wide-ranging in Silva criticism, Washbourne places the life and work of Silva in their literary and historical contexts, including an extended discussion of how After-Dinner Conversation fits within Spanish American modernismo and the Decadent movement. Washbourne's perceptive comments and notes also make the novel accessible to general readers, who will find the work surprisingly fresh more than a century after its composition.
A kaleidoscopic meditation on grief, memory, and the uncanny, where dreams, histories, and forgotten encyclopedias blur the line between life and afterlife.
In this luminous novel, Angela Woodward chronicles the meaning of death, the illusions of truth, and the strange, shimmering persistence of the self beyond the ordinary boundaries of life. Through fictional encyclopedia entries, surreal vignettes, and personal narratives, Afterlife blurs fact and imagination, the material and the ghostly, with poetic precision and biting wit.
Woodward’s speaker journeys through museums of bird art, cults and conformity, environmental chemicals, and lost loves. What emerges is an elegiac, deeply intelligent inquiry into how we continue to haunt the world—and how the world haunts us back.
A work of literary art that will appeal to readers of experimental fiction, creative nonfiction, and lyric essay, Afterlife invites comparison to writers like Jenny Boully, W. G. Sebald, and Anne Carson. This book is ideal for readers drawn to feminist, hybrid, and formally inventive literature; for those fascinated by the interplay between language and grief; and for anyone who has ever felt the uncanny persistence of the past in corners of the present.
More explorations of relationships and vanity than plot-driven narratives, Powell’s early works reveal the stirrings of the unequaled style, ear for dialogue, and eye for irony that would reach their caustic peak in his epic, A Dance to the Music of Time.
In Afternoon Men, the earliest and perhaps most acid of Powell’s novels, we meet the museum clerk William Atwater, a young man stymied in both his professional and romantic endeavors. Immersed in Atwater’s coterie of acquaintances—a similarly unsatisfied cast of rootless, cocktail-swilling London sophisticates—we learn of the conflict between his humdrum work life and louche social scene, of his unrequited love, and, during a trip to the country, of the absurd contrivances of proper manners.
A satire that verges on nihilism and a story touched with sexism and equal doses self-loathing and self-medication, AfternoonMen has a grim edge to it. But its dialogue sparks and its scenes grip, and for aficionados of Powell, this first installment in his literary canon will be a welcome window onto the mind of a great artist learning his craft.
Against a Darkening Sky was originally published in 1943. Set in a semirural community south of San Francisco, it is the story of an American mother of the mid-1930s and the sustaining influence she brings, through her own profound strength and faith, to the lives of her four growing children.
Scottish by birth, but long a resident of America, Mary Perrault is married to a Swiss-French gardener. Their life in South Encina, though anything but lavish, is gay, serene, and friendly. As their children mature and the world outside, less peaceful and secure than the Perrault home, begins to threaten the equilibrium of their tranquil lives, Mrs. Perrault becomes increasingly aware of a moral wilderness rising from the physical wilderness which her generation has barely conquered.
Her struggle to influence, while not invading the lives of her children, is the focus of this novel of family life during the Depression years.
“These ingenious stories are so funny and sparkling and slyly inventive that their pain catches you by surprise, like a sunburn after a day at the beach.”—Eric Puchner
Winner, 2022 Mississippi Institute for Arts and Letters Prize for Best Fiction
In Becky Hagenston’s fourth collection, the real and the fantastic collide in stories that span from Mississippi to Europe, and from the recent past to the near future. The characters are sex-toy sellers, internet trolls, parents, students, and babysitters—all trying to make sense of a world where nothing is quite what it appears to be. A service robot makes increasingly disturbing requests. A middle school teacher is accused of witchcraft—and realizes the accusations might be true. Two college students devise a way to avoid getting hit on in bars. A baker finds bizarre anomalies in his sourdough. A librarian follows her dead ex-husband through the Atlanta airport. In these stories, men and women confront grief, danger, loneliness, and sometimes—the strangest discovery of all—unexpected joy. Hagenston delivers a collection that is, at its weird and shining heart, about people discovering what—for better or worse—they are capable of.
In Agents and Patients, we return to London with the newly wealthy, memorably named Blore-Smith: an innocent, decent enough chap . . . and a drip. Vulnerable to the machinations of those with less money and more lust, Blore-Smith falls victim to two con artists whose ploys carry him through to the art galleries and whorehouses of Paris, Berlin, and beyond.
Written from a vantage point both high and necessarily narrow, Powell’s early novels nevertheless deal in the universal themes that would become a substantial part of his oeuvre: pride, greed, and what makes people behave as they do. Filled with eccentric characters and piercing insights, Powell’s work is achingly hilarious, human, and true.
“Who knows if there’s a God? There’s us, now, and caterpillars and other insects and mulch. So thinks Stephen Wirth as he watches his marriage collapse. Between bouts of alcoholism and attempts to restore a fleet of decrepit boats, Stephen does his best to help his daughters cope with their mother having fallen in love with another woman. But growing up and making sense of the world is something the girls must do on their own, just as for their mother there is no easy way around building a new life. Set on Long Island, The Agnostics follows the Wirths through several decades as they struggle to redefine themselves and their idea of family.
Painting with a fine and delicate brush, Wendy Rawlings reveals her characters’ lives as a series of discrete moments, illuminating the intimate story of one American middle-class family.
These powerful stories limn the complexities and dilemmas of life in Kansas, a state at “the center of the center of America,” as a billboard in one story announces. Andrew Malan Milward explores the less visible aspects of the Kansas experience—where its agrarian past comes into conflict with the harsh present reality of drugs, fundamentalism, and corporatism, relegating its agrarian identity to museums and amusement parks.
Presented in a triptych, the stories in Milward's debut collection range across a varied terrain, from tumbledown rural barns to modern urban hospitals, revealing the secrets contained therein.
A powerful work by the heralded writer, this collection is a touchstone event in German literature of the post-war era.
On April 8, 1945, several American bomber squadrons were informed that their German targets were temporarily unavailable due to cloud cover. As it was too late to turn back, the assembled ordnance of more than two hundred bombers was diverted to nearby Halberstadt. A mid-sized cathedral town of no particular industrial or strategic importance, Halberstadt was almost totally destroyed, and a then-thirteen-year-old Alexander Kluge watched his town burn to the ground.
A hypnotic tale of a Jewish refugee from Europe and his three years stranded aboard the Vasari
The Airship is the entrancing fictional biography of Nathan Cohen, who was deported from the US in 1912 under the Alien Act and spent the first years of World War I on a passenger ship, shuttled between the US and Argentina. Newspapers called him “The Wandering Jew” and “The Man Without a Country,” speculating he would spend the rest of his life at sea.
Adam Tipps Weinstein provides a wise, rich, nuanced, and mischievous exploration of Cohen’s emigration from Bauska, in the Russian Pale of Settlement, to Las Pampas, in Argentina. The Airship is finally Cohen’s wish for a new line of flight, which he realizes when he launches his beloved Laika, aboard a scavenged hot-air balloon.
Told through a series of incantations—spells, songs, folk tales, ghosts, charms—the book traces Cohen’s biography across time and a great expanse of geography. The concepts of home and homeland are stretched until they break. Was there ever a home? The Airship incants these paradoxes of location, nationality, faith, and belonging in a bordered and borderless world.
Still fragile, a bereft Annie returns to the ranch, where she is befriended by Leona, a Umatilla-Cayuse neighbor. Leona, as it turns out, has a long connection to the family that even Jack never knew about. At the time of his disappearance, Jack had been grappling with his family’s legacy—with the conflicts and consequences of white settlement of native ground. Three generations before he was born, the family ranch was taken from the Umatilla reservation through the Allotment Act. Jack’s mother died when he was six, but his father’s stern presence still cast a shadow on the land.
“Survival is hard sometimes,” Leona says, but with her help, Annie is able to bring Riley home from rehab and begin the work of healing their small family, learning, season by season, how to go on living without Jack. Leona, Riley’s friends Alex and Mattie, and old neighbors Gus and Audrey become a larger family for Annie as they share the stories that connect them—long-silenced stories from both cultures that could solve the mystery of Jack’s disappearance.
In prose that is lyrical and clear-eyed, All Coyote’s Children weaves an unforgettable tale of cultures and families caught in the inescapable web of who they are and what they have inherited.
What follows is a story in which mysteries are unraveled, odd alliances are forged, and the boundaries between lives blur in destiny-changing ways—all in a place where the physical border between two countries is as palpable as it is porous, and the legacies of history are never far away. There are no easy solutions to the issues the characters face in this story, and their various realities—as undocumented workers, Border Patrol agents, the American supervisor of a Mexican factory employing an impoverished workforce—never play out against a black-and-white moral canvas. Instead, they are complex human beings with sometimes messy lives who struggle to create a place for themselves in a part of the world like no other, even as they are forced to confront the lives they have made.
All That Rises is about secrets, lies, border politics, and discovering where you belong—within a family, as well as in the world beyond. It is a novel for the times we live in, set in a place many people know only from the news.
All the Tiny Beauties begins with a kitchen fire that sends the reclusive Webster Jackson to the home of his new neighbor, Colleen, who discovers him on her doorstep wearing a lacy peignoir, his house in flames. Unwilling to take responsibility for the lonely eccentric, Colleen reaches out to Webb’s estranged daughter, Debra. She also helps him find a live-in companion, a young adult reeling from the loss of her childhood friend.
Moving among perspectives and generations, we see the longings and vulnerabilities that drive and impede these characters as their stories intertwine—Webb’s first love clashing with his last; Colleen embarking on a secret affair with Debra; the older Webb and his young housemate, Hannah, forming a bond over tragedy, guilt, and his passion for baking.
Confronting the many ways they’ve failed others as well as themselves, Webb, Colleen, Hannah, and Debra slowly find ways forward and ways out. While exploring the fragile nature of our connections to one another, All the Tiny Beauties asks larger questions about the constraints society imposes that warp and wound, leading us to deny those things that make us wholly ourselves.
Traveling through China in 1989, not long after the Tiananmen Square massacre, Fanny hopes to make sense of her brother Bruno’s death in a motorcycle accident by finding a woman with whom he had exchanged letters. On her journey Fanny’s fate becomes entwined with a handsome British rogue, an American of Russian-Cuban descent returning to Tashkent, and two Chinese men—one who loves Charles Dickens, the other a budding, entrepreneurial con man—struggling to find their way in a country undergoing tumultuous transformation. Kathleen Lee’s debut novel explores the tension between the allure of the unfamiliar that draws us to distant lands and its unbidden tendency to reveal us to ourselves. With its rollicking sense of humor and slyly lyrical voice, as well as an extraordinary deftness in the rendering of place, All Things Tending towards the Eternal is an unforgettable ride.
Nebraska Waters is black. Vivian Gold is Jewish. In an Alabama kitchen where, for nearly thirty years, they share cups of coffee, fret over their children, and watch the civil rights movement unfold out their window, and into their homes, they are like family—almost.
As Nebraska makes her way, day in and out, to Vivian’s house to cook and help tend the Gold children, the “almost” threatens to widen into a great divide. The two women’s husbands affect their relationship, as do their children, Viv Waters and Benjamin Gold, born the same year and coming of age in a changing South. The bond between the women both strengthens and frays.
Winner of the Lillian Smith Book Award and Alabama Library Association Award for fiction, Roy Hoffman’s Almost Family explores the relationship that begins when one person goes to work for another, and their friendship—across lines of race, income, and religion—develops degrees of understanding yet growing misunderstanding. This edition commemorates the 35th anniversary of the book’s publication and features a foreword by the author and includes a discussion guide for readers and book clubs.
A prismatic, imaginative exploration of David Bowie’s last days
An intricate collage-novel fusing and confusing fact and imagination, Always Crashing in the Same Car is a prismatic exploration of David Bowie through multiple voices and perspectives—the protean musician himself, an academic trying to compose a critical monograph about him, friends, lovers, musicologists, and others in Bowie’s orbit.
At its core beat questions about how we read others, how we are read by them, how (if at all) we can tell the past with something even close to accuracy, what it feels like being the opposite of young and still committed to bracing, volatile innovation.
Set during Bowie’s last months—those during which he worked on his acclaimed final album Black Star while battling liver cancer and the consequences of a sixth heart attack—yet washing back and forth across his exhilarating, kaleidoscopically costumed life, Always Crashing in the Same Car enacts a poetics of impermanence, of art, of love, of truth, even of death, that apparently most permanent of conditions.
From the nostalgia of front porches to the hidden mysteries of basements, Ridge turns ordinary spaces into insightful meditations on homeownership, personal identity, and cultural expectations. American Homes is as much an architectural guidebook as it is a critique of consumerism, presenting a vivid portrait of how we live and the structures that define us. The result is a thought-provoking, humorous, and occasionally surreal commentary on what it means to call a place "home" in America.
Widely regarded as a major writer of his generation, Yuri Trifonov tolerated attack and admiration in the Soviet Union. His novellas are celebrated as being in the tradition of great nineteenth-century Russian writing. In "Another Life," a woman suddenly widowed attempts to grasp the memory of her brilliant, erratic husband, and to understand their life together. "The House on the Embankment" is the story of an academic opportunist who rises to apparatchik but suffers the oppression of society, friends, and most of all his inability to make decisions.
“Gone, finito, The End, I say. A father who puts an end to it all before he wears down the whole family deserves more praise than damnation.”
Two sisters travel to Sofia—in a convoy of luxury limousines arranged by a fellow Bulgarian exile—to bury their less-than-beloved father. Like tourists, they are chauffeured by the ever-charming Ruben Apostoloff—one sister in the back seat, one in the passenger seat, one sharp-tongued and aggressive, the other polite and considerate. In a caustic voice, Apostoloff shows them the treasures of his beloved country: the peacock-eye pottery (which contains poisonous dye), the Black Sea coast (which is utterly destroyed), the architecture (a twentieth-century crime). His attempts to win them over seem doomed to fail, as the sisters’ Bulgarian heritage is a heavy burden—their father, a successful doctor and melancholy immigrant, appears in their dreams still dragging the rope with which he hanged himself.
An account of a daughter’s bitterly funny reckoning with her father and his country, laden with linguistic wit and black humor, Apostoloff will introduce the unique voice of Sibylle Lewitscharoff to a new and eager audience.
Hyperaware of her own childhood losses and the challenges posed by Rick’s PTSD and heavy drinking, Charlie strives to build a stable home for Lucy. Her degree in biochemistry from the University of Wisconsin gives her a leg up, and the quiet joys of working at the cheese vat provide a deep, healing peace that points the way toward happiness.
But Falls River is too narrow-minded to accept a female business owner, and Charlie is ill-prepared for the pettiness and conventions of small-town life. When debts come due, including a lien against her family’s land, she must quickly figure out who is on her side—and how to keep her dreams alive.
This edition is translated by Clayton Eshleman, the acclaimed foremost translator of Artaud’s work. This will be the first edition since the original 1947 publication to present the work in the spatial format Artaud intended. It also incorporates eight original drawings by Artaud—showing reconfigured bodies as weapons of resistance and assault—which he selected for that edition, after having initially attempted to persuade Pablo Picasso to collaborate with him. Additional critical material draws on Artaud’s previously unknown manuscript letters written between 1946 and 1948 to the book’s publisher, Pierre Bordas, which give unique insights into the work from its origins to its publication.
Three lives. One song. A fire that reveals what cannot be hidden.
As If Fire Could Hide Us explores the expansiveness of consciousness and compassion through and beyond the human body.
A twelve-year-old girl slips out a basement window, steals a bike, and sets off on a perilous adventure. Injured and slowly bleeding out, Orelia enters a vast, spectacularly animate environment where she senses the limits of self disintegrating, her being entangled with the forest.
A prison guard and member of the strap down team witnesses a painfully prolonged execution and is delivered to a heart-cracking sense of identification with the ones he’s killed. Every grieving mother is his own. Any man might be himself, his closest friend, his brother.
An organ donor’s body is restored and resurrected through the bodies of multitudes. Spiritually and physically, one human being becomes many. Everything in the cosmos is intertwined and interchangeable. Embracing this awareness may bring fear or euphoria—desolation, peace, despair, rapture.
A visually stunning narrative of three eras in humankind’s vexed relationship with nature.
Ascension is a novel about the end of nature, or rather, the end of three “natures”: the time just before Darwin changed the natural world; the 1980s, just as the digital and genetic revolutions begin to replace “nature” with “environment”; and today, a time when we have the ability to manipulate nature at both the scale of the planet and at the genome. The narrative follows three different biologists on the brink of each of these cultural extinctions to explore how nature occupies our imaginations and how our imaginations bring the natural world, and our place in it, into existence.
Ascension is a story of how we continually remake the world and are in turn remade by the new nature we’ve created. It is the story of humans yearning to understand their families, themselves, and the world they live in as it comes to a close, leaving them to anticipate what will follow. Rich in visual depictions of the natural world—from nineteenth century engraving and paintings to twentieth century photography and twenty-first century databases—Ascension uses the materials of three eras to drive home our inability to escape nature, and the ways our fates are irrevocably bound together even as our actions usher in an end-time.
“The narrative is accelerated from the start. . . . As the novella builds to its horripilating climax, we realize the extent to which all values have thereby been inverted. The Assignment is a parable of hell for an age consumed by images.”—New York Times Book Review
“His most ambitious book . . . dark and devious . . . almost obsessively drawn to mankind’s most fiendish crimes.”—Chicago Tribune
“A tour-de-force . . . mesmerizing.”—Village Voice
Munro’s stories were born five decades ago in a small English village where children were seen and not heard, fathers were wacky, neighbors were snoopy, and maiden aunts were beautifully crafted artifices. Her original stories, dolloped with characters reminiscent of those from her childhood, telling of domestic shenanigans and outings gone revealingly awry are written with meticulous timing. Rich in details about the frailty and strength of the human spirit, her stories resonate with the truth of what is means to be human.
In Avala Is Falling, Jovanović’s breakout success in 1978, a young woman challenges the expectations that teachers, parents, bus drivers, and doctors have for her. The “Avala” of the title refers to a mountain south of Belgrade which is home to some of Serbia’s most important nationalist monuments and shrines; it is also the site of the main mental hospital for the region, and its “falling” is the unexpected fulfillment of a prophecy from a traditional Serbian folk song. Jovanović’s use of stream of consciousness in her characters’ thinking and speaking, as well as of intertextuality in description and plot advancement heralded the arrival of an innovative new writer who was determined to break with the of traditional concerns of earlier women writers.
This book is now recognized as much more than “jeans prose,” although the fame the book achieved under that characterization eventually pushed it to cult status. Jovanović is now considered a major avant-garde writer, whose stylistic innovations were as challenging as her women-centered themes.
In late Sixties Czechoslovakia, communist ideology is failing. A disillusioned middle-aged journalist retreats from the politics of Prague to the Moravian countryside of his youth. There he rediscovers the complex relationship with his dead father, a communist crusader. But when the journalist is accused of disgracing his father and his proletariat background, he realizes that he, too, is a leader—and that the stakes are now reversed.
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