Dubravka Ugrešić Volgorde van de boeken

The Culture of Lies is one of the most intelligent and lucid accounts of an appalling episode in history. It shows us the banality and brutality of nationalism and the way that nationalistic ideology permeates every pore of life. Ugresic's acerbic and penetrating essays cover everything from politics to daily routine, from public to private life. With a diverse and unusual perspective, she writes about memory, soap operas, the destruction of everyday life, kitsch, the conformity of intellectuals, propaganda and censorship, the strategies of human manipulation and the walls of Europe which, she argues, never really did fall. Shot through with irony and sadness, satirical protest and bitter melancholy, The Culture of Lies is a gesture of intellectual resistance by a writer branded "a traitor" and "a witch" in Croatia.

From one of Europe's premier essayists and cultural critics, a new collection about our troubling political times

First new novel in almost a decade from one of Europe's most inventive, boundary-pushing, feminist authors.

Ugresic, ever the flaneur, wanders from the Midwest to Zuccotti Park, the Irish Aran Islands to Jerusalem's Mea Shearim, from the tristesse of Dutch housing estates to the riots of South London, charting everything from the listlessness of Central Europe to the ennui of the Low Countries. One finger on the pulse of an exhausted Europe, another in the wounds of post-industrial America, Ugresic trawls the fallout of political failure and the detritus of popular culture, mining each for revelation.

Neue Essays aus der Feder der »Philosophin des Bösen und des Exils« (Charles Simic). Scharf, witzig und ebenso unterhaltsam wie klug schreibt Dubravka Ugresic über unsere digitale Welt zwischen Selbstdarstellung und bloßer Nachahmung. Sie schreibt über Medienhetze und Heimatlosigkeit, über osteuropäische Fliegen und polnische Wasserinstallateure - uns seziert dabei dei Begriffe und Bilder, die wir uns von den Dingen machen. In ihrem neuen Essayband wendet sich Dubravka Ugresic dem zeitgenössischen Phänomen der digitalen Kultur zu, in der jedermann eingeladen ist, sich zu beteiligen - ohne Rücksicht auf Urheberrechte und ähnliche störende Nebensächlichkeiten. Ugresic entdeckt hier überraschende Parallelen zur Amateurkultur, wie sie im Kommunismus florierte: Während der Kommunismus unterging, so ihre These, konnte die Hauptidee des Kommunismus - die Selbstverwirklichung - überleben und umgesetzt werden - nicht zuletzt dank Bill Gates. Außerdem geht es in diesem Band um falsche Begriffe von Patriotismus, Angst vor Menschen, Minibars, die Autorin verteidigt ihr Recht, eine »Fremde« zu bleiben, sie zeigt anhand von Putins Imagestrategien, dass das Bild alles ist und der Inhalt nichts, sie erzählt Geschichten von jugoslawischen Gastarbeitern und polnischen Klempnern, von Europas neuer Unterschicht - den Obsessionen des modernen Weltbürgers.

"Baba Yaga Laid an Egg takes a traditional myth and spins it afresh. The result is an extraordinary meditation on femininity, aging, identity, secrets and love."--Taken from jacket front flap

Tanja Lucic teaches at the University of Amsterdam and lives on the edge of the city's red light district. She and her pupils, fleeing the violent break-up of their homeland Yugoslavia, have found temporary refuge in the Department of Slavonic Languages.

The pieces collected in Lend Me Your Character—the novella "Steffie Cvek in the Jaws of Life" and a collection of short stories entitled Life Is a Fairy Tale— solidify Dubravka Ugresic's reputation as one of Eastern Europe's most playful and inventive writers. From the story of Steffie Cvek, a harassed and vulnerable typist whose life is shaped entirely by clichés as she searches relentlessly for an elusive romantic love in a narrative punctuated by threadbare advice from women's magazines and constructed like a sewing pattern, to "The Kharms Case," one of Ugresic's funniest stories ever about the strained relationship between a persistent translator and an unresponsive publisher, the pieces in this collection are always smart and endlessly entertaining.

Antipolitické eseje. "Doby velkých pravd bývají obvykle hluboce proniknuty všudypřítomnou kulturou lži," píše v titulním eseji knihy, jíž se snaží vyrovnat s dědictvím zániku Jugoslávie a následujícího válečného konfliktu v Charvátsku a Bosně, charvátská spisovatelka Dubravka Ugrešićová. Svazek "antipolitických" esejů a črt představuje Ugrešićovou jako nesmlouvavou komentátorku, jež přemýšlivě a s odvahou i smyslem pro ironii analyzuje podstatu a rozmanité projevy charvátského poválečného nacionalismu, všeprostupující ideologizaci i svůj osud exulanta, pochybujícího uprostřed integrující se, avšak stále rozdělené Evropy o vlastní identitě.

The Museum of Unconditional Surrender—by the renowned Yugoslavian writer Dubravka Ugresic—begins in the Berlin Zoo, with the contents of Roland the Walrus's stomach displayed beside his pool (Roland died in August, 1961). These objects—a cigarette lighter, lollipop sticks, a beer-bottle opener, etc.—like the fictional pieces of the novel itself, are seemingly random at first, but eventually coalesce, meaningfully and poetically.Written in a variety of literary forms, The Museum of Unconditional Surrender captures the shattered world of living in exile. Some chapters re-create the daily journal of the narrator's lonely and alienated mother, who shops at the improvised flea-markets in town and longs for her children; another is a dream-like narrative in which a circle of women friends are visited by an angel. There are reflections and accounts of the Holocaust and the Yugoslav Civil War; portraits of European artists; a recipe for Caraway Soup; a moving story of a romantic encounter the narrator has in Lisbon; descriptions of family photographs; memories of the small town in which Ugresic was raised.Addressing the themes of art and history, aging and loss, The Museum is a haunting and an extremely original novel. In the words of the Times Literary Supplement, "it is vivid in its denunciation of destructive forces and in its evocation of what is at stake."