Dubravka Ugrešić

Baba Yaga is a witch-like character who flies around on a giant mortar, kidnapping (and presumably eating) small children. She lives in a house on chicken feet. She is generally a terrifying figure, portrayed not only in literature but also film, animation and music throughout Russian culture. Dubravka Ugresic takes the story of Baba Yaga and weaves it into something completely fresh. The result is an extraordinary meditation on femininity, ageing, identity, secrets, storytelling and love.

Having fled the violent breakup of Yugoslavia, Tanja Lucic is now a professor of literature at the University of Amsterdam, where she teaches a class filled with other young Yugoslav exiles, most of whom earn meager wages assembling leather and rubber S&M clothing at a sweatshop they call the "Ministry." Abandoning literature, Tanja encourages her students to indulge their "Yugonostalgia" in essays about their personal experiences during their homeland's cultural and physical disintegration. But Tanja's act of academic rebellion incites the rage of one renegade member of her class-and pulls her dangerously close to another-which, in turn, exacerbates the tensions of a life in exile that has now begun to spiral seriously out of control.

"This is the first American publication of three works by one of Eastern Europe's most original and inventive writers. Dubravka Ugresic's In the Jaws of Life and Other Stories collects two short novels and a group of short stories grounded in fact and informed by fancy. The title novel, Steffie Speck in the Jaws of Life, charts the life of a typist for a lonely hearts column. Laid out like a sewing pattern, with instructions, diagrams, and helpful hints in the margin, it juxtaposes the cliches and trite advice of stereotypical women's magazines and popular culture with the genuine despair of the marginalized heroine. The short stories collected in Life is a Fairy Tale (Metaterxies) draw on the author's academic background to produce wickedly funny parodies and droll pastiches of such writers as Daniil Kharms and Gogol. Whether depicting the anonymous lives of small characters in big cities or rewriting great works from a distinctly irreverent perspective, Ugresic is fresh, entertaining, and consistently surprising."--BOOK JACKET.

Taking us on travels through Europe, and across to the US, this book offers perspectives on literature, geopolitics, East and West. It also says that while the Eastern bloc is gripped by Western modernization, the West is becoming increasingly Sovietized, with Internet banking, speed dating and automatic supermarket checkouts.

Essays over de veranderingen op de boekenmarkt, die alleen nog maar lijkt te bestaan uit bestsellerlijsten en hypes. Literatuur die wat meer inspanning van de lezer vraagt, dreigt het onderspit te delven Andere teksten gaan over de massamedia die onze waarneming danig beïnvloeden en daarmee het begrip van de werkelijkheid manipuleren. Bundel essays over de boekencultuur. Polemische essays over de vercommercialisering van de hedendaagse literatuur.

The heroine of this novel is a middle-aged Croatian and the novel is composed of fragments. She reflects on exile, life in Berlin, there's a recipe for caraway soup and a romantic encounter in Lisbon.

"Andre Gide is the inventor of modern metafiction and of autofiction, and his short novel Marshlands shows him handling both forms with a deft and delightful touch. The protagonist of Marshlands is a writer who is writing "Marshlands," which is about a reclusive character who lives all alone in a stone tower. The narrator, by contrast, is anything but a recluse: He is an indefatigable social butterfly, flitting about the Paris literary world and always talking about, what else, the wonderful book he is writing-Marshlands. He tells his friends about the book, and they tell him what they think, which is not exactly flattering, and of course those responses become part of the book in the reader's hand. Marshlands is both a poised satire of literary pretension and a superb literary invention, and Damion Searls's new translation of this early masterwork by one of the key figures of twentieth-century literature brings out all the sparkle of the original"--

"With characteristic wit and narrative force, Fox takes us from Russia to Japan, through Balkan minefields and American road trips, and from the 1920s to the present, as it explores the power of storytelling and literary invention, notions of betrayal, and the randomness of human lives and biographies. Using the duplicitous and shape-shifting fox of Eastern folklore as a motif, Ugresic constructs a novel that reinvents itself over and over, blending nuggets of literary trivia (like how Nabokov named the Neonympha Dorothea Dorothea butterfly after the woman who drove him cross country), with the timeless story of a woman trying to escape her hometown and find love to magical effect. Propelled by literary footnotes and "minor" characters, Fox is vintage Ugresic, recovering the voices of those on the margins with a verve that's impassioned, learned, and hilarious."--

"Hurtling between Weltschmerz and wit, drollness and diatribe, entropy and enchantment, it's the juxtaposition at the heart of Dubravka Ugresic's writings that saw Ruth Franklin dub her "the fantasy cultural studies professor you never had." In Europe in Sepia, Ugresic, ever the flâneur, 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 postindustrial America, Ugresic trawls the fallout of political failure and the detritus of popular culture, mining each for revelation. Infused with compassion and melancholic doubt, Europe in Sepia centers on the disappearance of the future, the anxiety that no new utopian visions have emerged from the ruins of communism; that ours is a time of irreducible nostalgia, our surrender to pastism complete. Punctuated by the levity of Ugresic's raucous instinct for the absurd, despair has seldom been so beguiling" --