Igor Mandić-works/transl

MAIN WORKS

Against the Grain (Uz dlaku, Mladost, 1970), critiques
Mysterium Televisionis (Mysterium Televisionis, Mogućnosti, 1972), essays
Naked Mass (Gola masa, Znanje, 1973), feuilletons
Tender Heart (Nježno srce, Znanje, 1975), essays
Mythology of Everyday Life (Mitologija svakidašnjeg života, Otokar Keršovani, 1976), feuilletons
From Bach to Cage (Od Bacha do Cagea, Mladost, 1977), essays and critiques
101 Short Critic (101 kratka kritika, August Cesarec, 1977), critiques
In the Shadow of Faded Music (U sjeni ocvale glazbe, Znanje, 1977), essays
Policemen of the Spirit (Policajci duha, Globus, 1977), essays
The Shock of the Present (Šok sadašnjosti, Centar za informacije i publicitet, 1979), feuilletons
Arsen (Arsen, Znanje, 1983), essays and monography
Literature and Media Culture (Književnost i medijska kultura, Matica hrvatska, 1984), essays
What do Women Actually Want? (Što zapravo hoće te žene?, Istarska naklada, 1985), feuilletons
Principles of Crime Fiction (Principi krimića, Mladost,1985), essays
Anthology of the Post-War Croatian Poetry (Jedna antologija hrvatske poratne poezije, Mladost, 1987), anthology
Farewell, Dear Krleža (Zbogom, dragi Krleža, Književne novine, 1988), essays
Marriage Kitchen (Bračna kuhinja, Grafički zavod Hrvatske, 1989), feuilletons cowritten with Slavica Mandić
Ecstasies and Hangovers (Ekstaze i mamurluci, August Cesarec, 1989), essays
Novels of Crisis (Romani krize, Prosveta, 1996), critiques
Literary Front (Književno (st)ratište, Matica hrvatska, 1998), critiques
Our Thing (Za našu stvar, Biblioteka XX Vek, 1999), critiques and essays
Priap’s Problem (Prijapov problem, Arkzin, 1999), essays
Between Two Flames (Između dv(ij)e vatre, NIN, 2000), feuilletons
White Crow (Bijela vrana, Prosvjeta, 2002), feuilletons
ER (Hitna služba, SysPrint, 2005), feuilletons
Under One’s Skin (Sebi pod kožu, Profil International, 2009), memoir
Last Minute (U zadnji čas, Profil International 2009), memoir
Paper Shield (Oklop od papira, V.B.Z., 2014), memoir
Deathbed Diary (Predsmrtni dnevnik, V.B.Z., 2017), memoir

 
TRANSLATIONS*

*none so far
 

Croatia at the Frankfurt Book Fair 2022

Croatia will present its literary and publishing scene at the Frankfurt Book Fair 2022 (19.-23.10.2022.), after two years of missing, with a selection of Croatian novelists, poets, non-fiction authors, and illustrators. This participation, which includes 24 publishers and more than 160 titles, has been organized by the Publishers and Booksellers Association within the Croatian Chamber of Economy, while The Ministry of Culture and Media of the Republic of Croatia has leased the national stand, and publishers themselves finance their programs.

The joint Croatian national stand, long 38 m2 will be in Hall 4.0, stand F40. The most important books of Croatian publishers in the past years, as well as ten fiction and four non-fiction titles, will be presented there. The selection of these 14 titles has been done by the Book and Publishing Council of the Ministry of Culture and Media of the Republic of Croatia, while the Croatian Writers' Association and the Croatian Writers Society proposed titles to be included.


Selected fiction:



and selected non-fiction:

  • Boris Perić, Tomislav Pletenac: You Can’t Do It
  • Davor Rostuhar: Love Around the World
  • Hrvoje Tkalčić: Earthquakes: Giants that Sometimes Wake Up
  • Deniver Vukelić: Magic in the Croatian Historical Space.

 

A selection of 15 illustrators, made for the Croatian participation at the Book Fair in Montpellier which unfortunately didn’t take place, has also been included now for the Frankfurt Book Fair: Vanda Čizmek, Ivana Glušević, Klasja Habjan, Vedran Klemens, Agata Lučić, Andreja Peterlik Huseinović, Ivana Pipal, Klara Rusan, Ivan Stanišić, Stipan Tadić, Hana Tintor, Vendi Vernić, Hana Vrca and Dominik Vuković.


Foreign publishers, editors and agents will be able to see the results of the support program for translations of Croatian authors into foreign languages ​​in a selection of books published in 2021 and 2022 at the Croatian stand. In addition, at the stand, Croatian publishers will organize promotions of several books by Luka Bekavac, Kašmir Huseinović, Dalibor Marković, Andrea Petrlik, Miro Radalj, Igor Štiks and others.


>>> PROGRAM at the Croatian national stand - click here!

>>> Croatian Books, Writters and Illustrators - Catalogue - click here! 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Danijel Dragojević-works/transl

MAIN WORKS

Turtle and Other Landscapes (Kornjača i drugi predjeli, Matica hrvatska, 1961), poetry
In Your Actual Body (U tvom stvarnom tijelu, Naprijed, 1964), poetry
The Lantern and the Sleeper (Svjetiljka i spavač, Naprijed, 1965), poetry
Storm and Other (Nevrijeme i drugo, Razlog, 1968), poetry
The White Sign of the Flower (Bijeli znak cvijeta, author’s edition, 1969), poetry
On Veronica, Belzebub and Knocking on Uncertain Door (O Veronici, Belzebubu i kucanju na neizvjesna vrata, Matica hrvatska, 1970), prose
The Doors Tale (Bajka o vratima, Naprijed, 1972), prose
The Fourth Animal (Četvrta životinja, Naprijed, 1972), poetry
Natural History (Prirodopis, Biblioteka Teka, 1974), poetry
Fibs (Izmišljotine, Naprijed, 1976), prose
Carbon Age (Razdoblje karbona, Cekade, 1976), poetry
Observatory (Zvjezdarnica, Hrvatska sveučilišna naklada, 1994), poetry
The Flower Square (Cvjetni trg, Durieux, 1994), prose
Walking along the Railroad (Hodanje uz prugu, Matica hrvatska, 1997), poetry
Murmur (Žamor, Meandar, 2004), poetry
Somewhere (Negdje, Fraktura, 2013), poetry
Indian Summer (Kasno ljeto, Fraktura, 2018), poetry

 
TRANSLATIONS

Carbon Age: Italian (Quaderni di letteratura croata)
As If I Am Not There: English (Viking)
The Flower Square: German (Verlag fur neue Wiessenschaft)

 

Slađana Bukovac-sample tranlastion

Stall Disease

Listen to those mathematically identical pauses between the hoof beats, that trackless train engine which one must subordinate to one's own uncoordinated movements.

Hundreds, thousands of hours wedged between worn out, always worn out pieces of woodwork, between school chairs of minimal manufacturing complexity designed with the best humanist intentions and their matching ascetic tables, all these efforts to understand exactly and globally, comparative methods, abstract thinking and experiments. Today at five o'clock in the afternoon, just like at any other time of day tomorrow and yesterday, as she's trying to walk in front of the bridled nag, in front of her, that is, not parallel with her fore legs or, even worse, skipping behind her shoulders, behind the shoulders of that damned perfectly balanced animal that can coordinate better on four legs than she could on two, she faces the same, unpredictable and irreparable educational deficit made when one did not go for two more hours of riding, among the children of wanton and distracted parents. Who mimic the educational model of the British aristocracy, meaning piano, French and riding lessons on patient nags. These ten year olds, raised to be vain, but mostly without the talent to become arrogant, wouldn't aim for the narrow wooden door on the fence like this, me like this, the horse like this, and then a bow and a picador's cape sweep through the dust, the prettiest movement is an unnoticed one, we passed through the door tramping melodiously, we didn't get stuck on the croup between the wooden stakes. It's too late now, Jelena thinks every day of her only riding experience, of a horse who, she now knows, was a retired hurdler, with the astonishingly long and slim legs of a supermodel, the fence of the manege barely reached his groin, and she had to hold on to the saddle with both hands in order to lift the flat-heeled boot, which she now knows is unacceptable when on a horse, up to the stirrup, and straddle that animal that didn't fill her with trust, but forced her with its anatomy to sit up straight for what must have been the first time in her life, to understand the meaning of uprightness, which had nothing to do with class and arms crossed behind the school chairs, from that position, the riders position, Jelena first saw in an almost shocking manner what a spine was for, and then followed the disastrous report on the state of her character, because horses know everything you can possibly know about human failures, they recognise hesitation and feigned vigor when pulling the reins, cowardice masked as empathy in lukewarm goading, the evolutionary fall of the lovers of plush puppies and kittens who are no longer bold enough to use the whip.

Controlling a horse meant controlling life, it's a skill you have to master at any cost, but Jelena nevertheless never came back, although she wasn't afraid, not at that point, she comforted herself with lack of time and the high cost of training, she justified herself with contempt for the exclusive character of riding, she defended herself from that terrible personal defeat as well as she could. Long term, the damage was enormous. She became painfully aware people were divided into those who ride and those who don't, that the position of rider was the only measure of meaning to someone's biography, and that the speed of reflexes was immeasurably superior to intelligence after the fact, however masterfully reflexive that intelligence may be.

The nag hesitated at the stable entrance. Then she pulled her usual trick: lifting her head suddenly, she tried to rip the reins from her hands. Jelena was ready for it, her harmless mutiny is part of an everyday ritual. Earlier she'd often get scared and let her go, even when she could hang on to her, partly because she understood her unwillingness to return to the obscure area of the box two hours before dusk, and partly because that image of a horse, with its head raised and its eyes turned downward, was simultaneously terrible and fascinating, like a direct insight into insanity, an omen of disaster, a hundredth of a second of a frame from a dream laden with symbols of the unconscious.
She's pretty, nicely built, with a refined head, delicate nostrils, dramatically dark, doe-like eyes. She's not pretty in a phantasmagoric way like thoroughbreds are, she's a mixture of a hot blooded and cold blooded horse; the usual and time tested recipe for an obedient, stable horse meant for beginners, invalids, those suffering from cerebral palsy and multiple sclerosis.

About ten of them visit the ranch every month with their caretakers. The caretakers are mostly parents whose duty is to try and outlive their own children, because the usual, reversed biological order is working directly against them. There is no free, or even cheap sanctuary for young men and girls with twisted limbs and distorted heads fixed on the headrest of the wheelchair, there is no humane solution, it's beyond the ability of every general-purpose philanthropist, so these parents live in the hell of longevity, condemned to timelessness, vitality and optimism, and can't afford loosening, sickness and death. Sick children (no matter what their age, they're always children) mostly expressly ask for this nag, Tara, she's used to walking in circles for hours in a slow, steady tempo, eating apples from a cramped hand in a wheelchair, rubbing her head on their locked shoulders. She's the muse of the handicapped, her framed photographs stand and hang in the neat living rooms of these homes, forever defined by misfortune, photographs on which those who were never walkers become riders, and witness with their happy faces the miracle that a simple horse can produce.

Two parts of oat and a bale of hay. The goat, who lives with Tara in the same box, and awaits her return from pasture always in the same position, with her front hooves over the fence, like a curious neighbor, grabbed the oats first again. Standing on her hind legs, her head is deep in the bowl. The nag sometimes bites her and chases her away, but very rarely. Mostly she just calmly watches the goat eat her food, and eats what's left over. Why does a big animal allow a small one to deprive her of an elementary need, food? if there is an explanation for it, it wasn't available to Jelena. A horse can kill with one blow, or at the very least mutilate a goat. She can hurt her by accident, in a state of anxiety or fear, and fear and anxiety are very common states in the world of horses, in the world of a prey animal, used through evolution to being attacked by perfectly organised packs, tearing off pieces of flesh from its legs and body from several sides at once, until the victim kneels and collapses, so they can bite through her neck and eat enough to secure energy for the next few days, or weeks. Were Tara and the goat friends, in some way? Every morning when she gets in the stable, she finds them in the same position, with their heads over the fence, the same eye movements, a similar look on their faces. The goat with her hooves on the board, a curious suburban neighbor lady, the horse with her hooves on the ground, but identifying with the goat's silliness, a kitsch image of an idyllic family. They've tried to separate them but the goat kept coming back, either from self-interest or loyalty, or both.

"Horses don't want to kill", the Righteous One once said, when he was trying to teach Jelena to block a galloping stallions path with her hands above her head. "Horses don't want to kill." "Horses don't want to kill." "Kill." Could a quadrupedal animal really understand the meaning of murder and death, violent death? The link between a blow of the hoof, the ending of an irritating nuisance, like a fly in reach of the tail or a goat with its head in the bowl, with a taboo that isn't its taboo, which doesn't concern it, the taboo of murder? And if there is no taboo, what's left is empathy. There are no large animals that don't kill small ones out of empathy. Buddhists don't kill ants, but not because of empathy, but for religious beliefs. People mostly don't kill their pets, but that has nothing to do with empathy, it's about complex psychological and social mechanisms, identification, anthropomorphism; complicated, but harmless deviations.

An unseemly curious goat, a neighbor in a housecoat with her annoying braying, perchance the horse's friend, every morning safe and sound, unharmed. There is no explanation. There is no explanation, unless one succumbs to the myths from the melodramatic genre, about the eternal good that lives in Lassie who's coming home, just like Saint Francis of Assisi. Good isn't eternal, it's sporadic, and inexplicable. Sometimes it's a consequence of thorough breeding or successful dressage, but, unlike evil, which is reliable and transparent, almost mathematically predictable, it's mostly unexplainable. Jelena fears what she can't understand, and she can't understand horses.

The Righteous One knows nothing about people, he's completely face blind, he can't read discomfort, polite refusal, absentmindedness, he can't see where a joke ends and offense begins, he can't tell false enthusiasm from the real thing. Occasionally he's suspected of being bereft of empathy, which turns out to be unprovable and pointless every time. He knows horses, which is superior, you can live off horses. Off people too, and even their moods, but it's slippery turf you're better off not stepping into.

Jelena likes to think she knows a thing or two about people. It's no exact knowledge, she's infantile, she responds to movements, to other people's energy, her nervous system is programmed much like that of a horse.

Rade Šerbedžija-works/transl

MAIN WORKS

Volatile (Promjenjivi, Subotičke novine, 1987), poetry 
Black and Red (Crnocrveno, Globus, 1989), poetry
His Friend Says He Doesn’t Know Him Anymore (Prijatelj ga, kaže, više ne poznaje, Feral Tribune, 1997), poetry
Breathless (Do posljednjeg daha, HENA, 2004), autobiography
Stranger (Stranac, V.B.Z., 2016), poetry
After Rain (Poslije kiše, HENA, 2017), autobiography

 
TRANSLATIONS
 
His Friend Says He Doesn’t Know Him Anymore: Italian (Galaad)
Breathless: Italian (Zandonai)
 

The US edition of Grigor Vitez' AntonTon wins three awards at the Colorado Independent Publishers Association's EVVY Book Awards

The US edition of one of Croatia's most beloved children's poems, AntonTon by Grigor Vitez, has received three awards given out by the Colorado Intependent Publishers Association! EVVY Book Awards celebrate well written and beautifully designed books from Colorado and world. For over 30 years, EVVY Book Awards choose best titles across 39 categories: from fiction and non-fiction to children's books. Antonton has been awarded Silver in the Children's Illustration category, Silver in the Children's Cover Design category and Bronze in the Children's Picture Books (age 0-5) category.

Penned by Grigor Vitez, the father of the modern children's literature in Croatia, AntonTon is a poem celebrating one-of-a-kind hero marching to the beat of his own drum. There isn't a generation that doesn't know his adventures by heart; now, this classic of children's literature in Croatia has won the hearts of American readers as well.

The English translation has been published by Perlina Press, an independent publishing house dedicated to children's literature, as well as Croatian authors in English translation. AntonTon was translated by Irena Stanić Rašin, editor, author and translator, and illustrated by the award-winning and internationally acclaimed illustrator Tomislav Torjanac.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Milana Vuković Runjić-works/trans

MAIN WORKS

The Garden (Vrt, Zbirka BIškupić, 1989), poetry 
Sections on Eve (Odlomci o Evi, SKUD Ivan Goran Kovačić, 1992), poetry
Azure Gold (Azurno zlatno, Ceres, 1994), poetry
Wings of Ether (Krila od etera, Ceres, 1998), poetry
Seuso (Seuso, Vuković&Runjić, 2000), novel
Revolver (Revolver, Vuković&Runjić, 2001), novel
Sexopolis (Seksopolis, Vuković˛Runjić, 2003), feuilletons
Story of M. (Priča o M., Vuković&Runjić, 2004), novel
Street of Infidel Wives (Ulica nevjernih žena, Naklada Ljevak, 2007), novel
The Hunter and the Goddess (Lovac i božica, Vuković&Runjić, 1998), poetry
Demons and Journalists. A True Story of a Redaction in Recession (Demoni i novinari, Vuković&Runjić, 2010), novel
Wives and Lovers (Supruge i ljubavnice, Profil International, 2009), feuilletons 
Cursed Queens (Proklete kraljice, 24 sata, 2011), biographies
Adriadna’s Thread (Arijadnina nit, Vuković&Runjić, 2012), novel
Cursed Croatian Women (Proklete Hrvatice, 24sata, 2012), biographies
Cursed Croatian Women 2 (Proklete Hrvatice 2, 24sata, 2013), biographies
Proust in Venice. Matoš in La Serenissima (Proust u Veneciji, Matoš u Mlecima, Vuković&Runjić, 2013), novel
Cloud Hotel 1914 (Hotel u oblacima, Vuković&Runjić, 2014), novel
Of the Living, Nothing but Good (O živima sve najbolje, Vuković&Runjić, 2005), short stories collection
Unholy Trinity (Nesveto trojstvo, Vuković&Runjić, 2012), novel
Pharaoh from Ilica is Dead! (Faraon iz Ilice je mrtav!, 24sata, 2015), novel 
Vladimir and Matilda (Vladimir i Matilda, Vuković&Runjić, 2016), novel
Pharaoh and Nutcracker (Faraon i Orašar, Vuković&Runjić, 2017), novel
Workers in My House (Majstori u mojoj kući, Vuković&Runjić, 2018), novel
Secret of the Hollow Tower: Vladimir and Matilda (Tajna Šuplje kule: Vladimir i Matilda, Vuković&Runjić, 2017), novel
 

TRANSLATIONS*

*none so far

 

Main works/Translations
Sample translation
Links
Contacts