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Errors of Young Tjaz
With its echoes of fellow Austrian novelist Robert Musil's novella Young Törless, and of Günter Grass’s The Tin Drum, Florjan Lipuš's Young Tjaž, first published in 1972, helped moved the critique of Germanic Europe's fundamental social conformity into the postwar age. But Lipuš, a member of the Slovene ethnic minority indigenous to Austria's southernmost province of Carinthia, wrote his novel in Slovene and aimed it not just at Austrian society's hidebound clericalism, but also at its intolerance of the ethnic other in its midst. When Austrian novelist and fellow Carinthian Peter Handke resolved in the late 1970s to explore his Slovene roots, the first book he picked up was Lipuš's Young Tjaž, which served as his Badeker through the Slovene language, and which he faithfully translated into German and published in 1981.
Angels Beneath the Surface
With a per capita publishing rate of more that three times that of the United States, Slovenia has a long and storied literary history, from the legendary 9th-century Freising Manuscripts to postmodern masterpieces by Igor Bratoz. Continuing that tradition, Angels Beneath the Surface, the first collection of Slovene fiction to be published in English outside of Slovenia since 1994, offers a rich sampling of Slovene short stories. The thirteen tales here represent a wide array of voices and writing styles among the country's renowned–and emergent–writers. Written between 1990 and 2005, the selections in Angels Beneath the Surface together comprise a vivid snapshot of Slovene literary consciousness at the turn of the millennium. These authors mine their culture for often startling insights in stories that range from wicked variations on fairy tales to dour romances to skewerings of the bureaucratic state. Recent articles in The New Yorker, The New York Times Book Review, and other prominent publications attest to renewed interest in European literature in translation, and this collection is an incisive entry in the genre.
And Love Itself
The latest novel by likely the greatest living Slovenian writer
You Do Understand (Slovenian Literature Series)
Partly parables, partly fairy tales, You Do Understand is a comedy of errors for a species of talkers who’ve never learned to listen. This collection of sharp, spare, occasionally absurd, cruel, touching, and yet always generous short-short fictions addresses the fundamental difficulty we have in making the people we love understand what we want and need. Demonstrating that language and intimacy are as much barriers between human beings as ways of connecting them, Andrej Blatnik here provides us with a guided tour of the slips, misunderstandings, and blind alleys we each manage to fall foul of on a daily basis—no closer to understanding the motives of our families, friends, lovers, or coworkers than we are those of a complete stranger . . . or, indeed, our own.
I Saw Her that Night
"I Saw Her That Night is a tragic love story set amid the atrocities of World War II in Slovenia" --
The Day Tito Died
A collection of stories by five Slovenian writers. In one, set during World war II, a prisoner contemplates death on the way to a concentration camp. In another, set in New York, a salesman is beaten and robbed while trying to pick up a woman.
Games with Greta
A new collection of stories that has not appeared together before in any language.
Newcomers: Book One
The first volume of this three-part autobiographical series begins in 1938 with the expulsion of the Kovacic family from their home of Switzerland, eventually leading to their settlement in the father's home country of Slovenia. Narrated by Kovacic as a ten-year-old boy, he describes his family's journey with uncanny naiveté. Before leaving their home, he imagines his father's home country as something beautiful out of a fairytale, but as they make their way toward exile, he and his family realize that any attempt to make a home in Slovenia will be in vain. Confronted by misery, hunger, and hostility, the young boy refuses to learn Slovenian and falls silent, his surroundings becoming a social, cultural and mental abyss. Kovačič meticulously, boldly, and sincerely portrays the objective, everyday world; the style is clear and direct. Told from the point of view of a child, one memory is interrupted by fragments and visions of another. Some are innocent and tender, while others are miserable and ruthless, resulting in a profound and heart-wrenching description of a period torn apart by conflict, reflected in the author's powerful and innovative command of language.
