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By Dubravka Ugresic

Significantly acclaimed experimental, literary fiction through the recognized Croatian exile author.

The Museum of Unconditional Surrender—by the popular Yugoslavian author Dubravka Ugresic—begins within the Berlin Zoo, with the contents of Roland the Walrus's abdominal displayed beside his pool (Roland died in August, 1961). those objects—a cigarette lighter, lollipop sticks, a beer-bottle opener, etc.—like the fictitious items of the unconventional itself, are probably random at the beginning, yet finally coalesce, meaningfully and poetically.

Written in numerous literary varieties, The Museum of Unconditional give up captures the shattered international of a lifestyles in exile. a few chapters re-create the day-by-day magazine of the narrator's lonely and alienated mom, who outlets on the improvised flea-markets on the town and longs for her teenagers; one other is a dream-like narrative during which a circle of girls associates are visited via an angel. There are reflections and debts of the Holocaust and the Yugoslav Civil conflict; pics of eu artists; a recipe for Caraway Soup; a relocating tale of a romantic come across the narrator has in Lisbon; descriptions of relatives photos; thoughts of the small city during which Ugresic was once raised.

Addressing the subjects of artwork and historical past, getting older and loss, The Museum is a haunting and an incredibly unique novel. within the phrases of the days Literary complement, "it is brilliant in its denunciation of harmful forces and in its evocation of what's at stake."

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The Museum of Unconditional Surrender

Severely acclaimed experimental, literary fiction through the well-known Croatian exile author.

The Museum of Unconditional Surrender—by the popular Yugoslavian author Dubravka Ugresic—begins within the Berlin Zoo, with the contents of Roland the Walrus's belly displayed beside his pool (Roland died in August, 1961). those objects—a cigarette lighter, lollipop sticks, a beer-bottle opener, and so on. —like the fictitious items of the radical itself, are doubtless random first and foremost, yet ultimately coalesce, meaningfully and poetically.

Written in various literary types, The Museum of Unconditional give up captures the shattered global of a existence in exile. a few chapters re-create the day-by-day magazine of the narrator's lonely and alienated mom, who outlets on the improvised flea-markets on the town and longs for her young ones; one other is a dream-like narrative within which a circle of girls neighbors are visited through an angel. There are reflections and debts of the Holocaust and the Yugoslav Civil conflict; snap shots of eu artists; a recipe for Caraway Soup; a relocating tale of a romantic come across the narrator has in Lisbon; descriptions of family members pictures; stories of the small city within which Ugresic was once raised.

Addressing the topics of artwork and heritage, getting older and loss, The Museum is a haunting and a very unique novel. within the phrases of the days Literary complement, "it is bright in its denunciation of harmful forces and in its evocation of what's at stake. "

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Sample text

What is permitted is just two lines of differ­ ence. ’ said his superior sternly. ). Compiling an album and autobiography are activities guided by the hand of the invisible angel of nostalgia. With its heavy, mournful wing, the angel of nostalgia brushes aside the demons of irony. That is why there are hardly any comic albums, ugly photographs, humorous autobiographies. It is in these most sincere and most personal of all genres— the album and autobiography— that the scissors of censorship are most assiduous.

In the Gerard Monastery, a wondrous building dug into the rocks, we met a monk. Handing round his pointless visiting card with equally pointless busyness, the monk led us to his cell. There was nothing in the cell apart from a bed, a table and a chest of drawers. On the bureau— equidistant from one another— stood three framed photographs. ‘This is a picture of me at twenty, this is me at thirty, and this is me 17 when I was forty,’ the monk announced in the voice of a museum guide. At the foot of each frame, there was a little bunch of dried flowers tied with a ribbon.

And when I think that I slipped away from him and married pointlessly, really pointlessly . . ’ ‘No, he didn’t. Never,’ I said, compassionately. In the verbal album arranged for her friends, M irek’s picture had been touched up on its journey from Zagreb to the American suburbs. The not quite five seven M irek had grown into six foot Miroslav; the colour of his eyes had changed from brown to blue, and an ordinary Zagreb youth had become an unforgettable lover and the imaginary property of the partici­ pants in the hen party.

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