Dubravka Ugrešić

These essays are written on the skin of the times. Dubravka Ugresic, winner of the Neustadt International Prize and one of Europe’s most influential writers, with biting humor and a multitude of cultural references—from La La Land and Dawn of the Planet of the Apes, to tattoos and body modification, World Cup chants, and the preservation of Lenin’s corpse—takes on the dreams, hopes, and fears of modern life. The collapse of Yugoslavia, and the author’s subsequent exile from Croatia, leads to reflections on nationalism and the intertwining of crime and politics. Ugresic writes at eye level, from a human perspective, in portraits of people from the former Eastern Bloc, who work as cleaners in the Netherlands or start underground shops with products from their country of origin. A rare and welcome combination of irony, compassion, and a sharp polemic gaze characterizes these beautiful and highly relevant essays.

"Baba Yaga is an old hag who lives in a house built on chicken legs and kidnaps small children. She is one of the most pervasive and powerful creatures in all mythology." "But what does she have to do with a writer's journey to Bulgaria in 2007 on behalf of her mother?" "Or with a trio of women who decide in their old age to spend a week together at a hotel spa?" By the end of Dubravka Ugresic's novel, the answers are revealed. Her story is shot through with spellbinding, magic, involving a gambling triumph, sudden death on the golf course, a long-lost grandchild, an invasion of starlings, and wartime flight, the consequences of which are revealed only decades later.

This book was first published as "Have a Nice Day: From the Balkan War to the American Dream" (trans. Celia Hawkesworth. London : Jonathan Cape, 1994). American Fictionary is a new revised edition, with all changes made by the author. In the midst of the Yugoslav wars of the early 1990s, Dubravka Ugresic was invited to Middletown, Connecticut, as a guest lecturer. A world away from the brutal sieges of Sarajevo and the nationalist rhetoric of Milosevic, she instead had to cope with everyday life in America, where she's assaulted by "strong personalities," the cult of the body, endless amounts of jogging and exercise, bagels, and an obsession with public confession. Organized as a fictional dictionary, these early essays of Ugresic's (revised and amended for this edition) are as pertinent to today's America as when they were first published. It's here, in these pieces filled with Ugresic's unparalleled wit and devastating observations, that the comforting veil of Western consumerism is ripped apart as the mundane luxuries of the average citizen are contrasted with the life of a woman whose country is being destroyed.

"Ugresic is also affecting and eloquent, in part because within her quirky, aggressively sweet plot she achieves moments of profundity and evokes the stoicism innate in such moments.”—Mary Gaitskill 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.

As with the rest of her literary career, Dubravka Ugresic's final work, A Muzzle for Witches , is uncategorizable. On its surface, the book is an conversation with the literary critic Merima Omeragić, covering topics such as "Women and the Male Perspective," "The Culture of (Self)Harm," and "The Melancholy of Vanishing."  But the book is more than a simple It's a roadmap of the literary world, exploring the past century and all of its violence and turmoil—especially in Yugoslavia, Ugresic's birth country—and providing a direction for the future of feminist writing.  One of the greatest thinkers of the past hundred years, Ugresic was one-of-a-kind, who novels and literary essays pushed the bounds of form and content, and A Muzzle for Witches offers the chance to see her at her most raw, and most playful. 

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.

In this collection of acerbic essays, Ugresic dissects the nature of the contemporary book industry, which she argues is so infected with the need to create and promote literature that will appeal to the masses — literally to everyone — that if Thomas Mann were writing nowadays, his books wouldn't even be published in the U.S. because they're not sexy enough. A playful and biting critique, Ugresic's essays hit on all of the major aspects of publishing: agents, subagents, and scouts, supermarket-like bookstores, Joan Collins, book fairs that have little to do with books, authors promoted because of sex appeal instead of merit, and editors trying to look like writers by having their photograph taken against a background of bookshelves. Thanks to cultural influences such as Oprah, The Today Show, and Kelly Ripa, best-seller lists have become just a modern form of socialist realism, a manifestation of a society that generally ignores literature in favor of the next big thing.

Finalist for the NBCC award for Criticism. "Ugresic is sharp, funny and unafraid. . . . Orwell would approve."— Times Literary Supplement Over the past three decades, Dubravka Ugresic has established herself as one of Europe"s greatest—and most entertaining—thinkers and creators, and it's in her essays that Ugresic is at her sharpest. With laser focus, she pierces our pop culture, dissecting the absurdity of daily life with a wit and style that's all her own. Whether it's commentary on jaded youth, the ways technology has made us soft in the head, or how wrestling a hotel minibar into a bathtub is the best way to stick it to The Man, Ugresic writes with unmatched honesty and panache. Karaoke Culture is full of candid, personal, and opinionated accounts of topics ranging from the baffling worldwide-pop-culture phenomena to the detriments of conformist nationalism. Sarcastic, biting, and, at times, even heartbreaking, this new collection of essays fully captures the outspoken brilliance of Ugresic's insights into our modern world's culture and conformism, the many ways in which it is ridiculous, and how (deep, deep down) we are all true suckers for it. Dubravka Ugresic is the author of several works of fiction and several essay collections, including the NBCC award finalist, Karaoke Culture. She went into exile from Croatia after being label a "witch" for her anti-nationalistic stance during the Yugoslav war. She now resides in the Netherlands. David Williams did his doctoral research on the post-Yugoslav writings of Dubravka Ugresic and the idea of a "literature of the Eastern European ruins." He is the author of Writing Postcommunism.