Format: 13,5×20,5
ISBN: 978-953-7760-01-4
Pages: 160
Binding: paperback
Published: 2010.


10,00 €
Diaries by the famous Croatian writer Ivana Brlić Mažuranić, written in the 1880s when she was fifteen to eighteen years old. The book provides insight into teenage life in the 19th century in Zagreb, the charming young character of the writer, her thoughts on literature, life and death, as well as the seeds of conflicts awaiting a female writer – all of which makes it a highly interesting read.
Format: 13,5×20,5
ISBN: 978-953-7760-01-4
Pages: 160
Binding: paperback
Published: 2010.
This prose-poetry reader could prove to be one of the key events of the Anglo-Croatian literary exchange in 2025: in it, translator and poet Goran Čolakhodžić brings a selection of prose and verse by the English early modernist, Edward Thomas, one of the most important voices of British poetry and of the generation of artists who perished in the Great War, and a close friend of the American classic Robert Frost. The rhythms of his verse are quiet and unobtrusive; he was above all a poet of the earth, trees, birds, and the human relationship with nature, but his poetry is also characterized by subtle psychological insights and is overshadowed by the coming world conflict. In addition to tackling Thomas’s rhymed verse and selecting some of the most successful fragments from Thomas’s nature writing, travel journals and articles, Čolakhodžić also wrote a critical preface, notes and his own artistic text juxtaposed with Thomas’s – a diary of the arrival of spring in Zagreb in 2025, which highlights the similarities and differences between England and Croatia, the 19th and 21st centuries, reminding us of the impact that climate change and people’s problematic relationship with nature have on our daily life. The painter Iva Valentić provided stunning artistic responses to the texts collected here, connecting Far Eastern techniques with Western literature.
Mladen Kopjar is an author with extensive experience in writing different types of literary texts. In “Point Nemo”, his first collection of poetry, this experience is reflected in the ease and skill with which he builds his poetic world, as well as in his thoughtful and consistent poetics. The origins of the poems are usually in everyday life, its spaces, objects, small events, memories, but thanks to the gift of observation and skillful selection of details, the author skillfully avoids the superficiality and banality of “realistic” writing. Freedom and imagination lead him from concrete experience to surreal images in which personal associations are mixed with various fragments from the ubiquitous virtual space. But the unique tone of this collection stems from the deep emotionality with which the whole is imbued; the author addresses (or talks about) his loved ones: wife, child, parents, meandering through areas of tenderness and pain. In that intimate space, the outside world is mirrored in flashes; the original clash between an authentically, intensely internal world and a diverse, sometimes aggressive external world gives this poetry strength and interest.
Biljana Romić, born in 1960, is a Croatian indologist and cultural editor. She gained her Master of Arts title in 1997 in Zagreb, with a study of Bharati Mukherjee and postcolonial migrant faiths. She has ever since actively been researching and writing about postcolonialism and the notion of the Other. Her extensive study The women’s world of British India was written after she spent several years studying diaries and letters written by “memsahibs”. Her work is not simply a historical overview of their lives and roles during colonialism, it puts colonial history, literature and the notion of the “Other” in a contemporary critical context; Romić analyses over one hundred and fifty sources, including Indrani Sen, Amandeep Kaur, Kumari Jayawardena and Shashi Tharoor. When reading about the British colonial venture in India, we mostly encounter works that have been written from the male perspective of conquests and regimen – but colonial women have, almost from the very beginning, been a part of this venture. Biljana Romić’s book brings us the voices of these women and their lives. They journeyed into the unknown, often not prepared for the adversities of a different climate and the social roles they were going to find themselves in. They went into the unknown as wives, governesses, teachers, as young women in search of a husband; sometimes as entrepreneurs, missionaries, adventurers. Many stayed within the expected roles given by the British colonial community, but some of them showed that it is possible to overcome the limitations of their era, class and gender when it comes to their relation to India and Indians. Biljana Romić talks about the so-called “little history”, the one that appears on the margins of big historical events – and without which it is impossible to gain a complete picture of a time that has passed.
My dearr heart, my lovely little one – thus begin the gentle letters Henri Barbusse wrote to his wife a hundred years ago. What follows is by no means gentle – trenches, shells, mud and the dead, the war that is revealed in its bloody meaninglessness. In the year 1914. the writer of letters, Henri Barbusse, was 41, had a reputation as a writer and editor, was not in the best health and had firm pacifist beliefs. Despite all this he volunteered for the French Army and spent the two first years of war on the front lines – and wrote his novel Under Fire, literary testimony of the World War I, which earned him the Goncourt prize and thousands of readers. Documentary material on which is based his novel is found in the letters he wrote almost daily to his wife Hélyonne. In their immediacy and authenticity, those letters can convey to the reader of today the drama of the beginning of the “short twentieth century” better than any fiction.