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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.
Format: 11,5×20 cm
ISBN: 978-953-8313-86-8
Number of pages: 76
Binding: hardcover
Year of publication: 2024
Paintings, a collection of prose poems, brings Segalen’s descriptions of imaginary Chinese visual art: thereby a dialogue is opened not only between different cultures, but also between different artistic media. The reader wanders around these foreign, strange places, sometimes lost, sometimes amazed but is always lead forwards by Segalen’s virtuoso writing.
Mala zvona brings the first integral Croatian translation of this poetic masterpiece.
A collection of short stories by Virgina Woolf, first time in Croatian translation.
Translated by Sanja Lovrenčić
Kikop Award for the best literary translation in 2012.
The third book of poetry by Lidija Dujić, Plastron, Pericardium, includes five cycles of poems: Growers of Ice, The Time of the Desert, A Plate of High Tide, Wagon Tracks and Crop Rotation and Bunker of Angels. It is a poetry full of daring images, unusual associative sequences, rich with references to various fields of human experience. Combining elements from different language levels, the (erudite) author shapes and produces her poetic reality, with its own optics and artistic logic.
Sanja Lovrenčić wrote the book of prose fragments entitled Zagreb Childhood in the Sixties while she was working on the translation of Walter Benjamin’s autobiographical Berlin Childhood around 1900,and her writing is therefore marked by an interesting duality. Zagreb Childhood functions as an autobiographical discourse and deals with the elements typical for that genre: introspection, sketches of the chosen period, a fine nostalgia for childhood, which an adult can reach only as a selection of fragments that can never be made into a coherent whole; those elements could be labelled as personal and local. On the other hand, however, the book is a response to a literary text, a reaction not to a childhood or a social change, but to a certain type of writing. This leads to a completely different set of ideas, that we might call inherently literary – intertextuality, the fictionalization of the self, the use of poetic language and lyrical fragments that simultaneously connote and transcend personal experience. Thus Zagreb Childhood combines two elements that are necessary to make a quality literature: inclusion in the local context, as well as its constant dissolution – both intimacy and universality.
