KRISTIAN NOVAK: ČRNA MATI ZEMLA/BLACK MOTHER, Algoritam, Zagreb, 2013.


Kristian Novak rođen je 1979. u Baden-Badenu, osnovnu i srednju školu pohađao je u Svetom Martinu na Muri i Čakovcu, diplomirao je na kroatistici i germanistici, a doktorirao kao lingvist, i to na studiji „Višejezičnost i kolektivni identiteti Iliraca“. Danas radi na odsjeku germanistike u Zagrebu i kroatistike u Rijeci. Črna mati zemla je roman koji je vrati na našu mentalnu mapu i na književnu scenu Međimurje i ruralni kajkavski govor. Njegova temeljna fabularna linija govori o mladom, etabliranom piscu Matiji Dolenčecu koji pokušava doseći do korijena svoje traume i amnezije one priče koju je potisnuo i zbog koje priča sve one druge ali ipak manje važne.


Kristian Novak born in 1979 in Baden-Baden, finished elementary and high school in Sveti Martin na Muri and Čakovec, received his BA in Croatian and German, a PhD in linguistics, with the paper titled “Multilingualism and Collective Identities of the Illyrian Movement”. He currently works at the Department of German in Zagreb and the Department of Croatian in Rijeka. Črna mati zemla (Black Mother Earth) is a novel that re-introduced the region of Međimurje and the rural Kajkavian dialect to our mental map and the literary scene. His main storyline is about a young, established writer Matija Dolenčec who tries to reach the root of his trauma and amnesia regarding the story he repressed, the one that makes him tell all other, less important stories.

Črna mati zemla je roman o osobnom putovanju iz bliskog, urbanog i neobaveznog, u otuđeno, tamno i ruralno. To je roman koji govori o Matiji Dolenčecu i njegovu odrastanju u međimurskom selu, o osjećaju krivnje, o smrti oca, o osam samoubojstava koja su se nekim čudom zaredala, o dva demona, samoći i otvorenom povijesnom prijelomu iz 1991. godine. Roman je to epske širine i lirskog dubine, samoistresajućeg zarona, ali i humorističkih proplamsaja i finih refleksija. Roman „Črna mati zemla“ je između ostaloga i ekološka opomena i uputa kako ostvariti uspješnu ljubavnu vezu.

Črna mati zemla (Black Mother Earth) is a novel about a personal journey from the familiar, urban, and casual towards the alienated, dark, and rural. It’s a novel about Matija Dolenčec and his childhood in a village in Međimurje, about guilt, about the death of a father, about 8 suicides that mysteriously happened in quick succession, about two demons, loneliness, and an open historical fracture of the 1991. It’s a novel of epic width and lyrical depth, of a self-emptying dive, but with humoristic flashes and fine reflexions. Črna mati zemla is also an ecological warning and an instruction for a successful relationship.

WHAT DOES READING MEAN TO YOU?

Reading for me is travelling through other people’s fiction and an occasional encounter with my own truth.

ŠTO JE MENI ČITANJE?

Čitanje za mene je putovanje kroz tuđinu fikciju i povremeni susret s vlastitom istinom.

DAMIR KARAKAŠ: BLUE MOON, Sandorf, Zagreb, 2014.

Osma knjiga pisca Damira Karakaša rođenoga 1967. godine u Plaščici pored Brinja jest roman „Blue Moon“ o rockabillyju i propalom studentu agronomije, Čarliju tokom njegova studija u Zagrebu. Taj roman govori o njegovu složenom odnosu sa zavičajnom Likom, o njegovom socijalnom i ljubavnom životu, o jednoj trudnoći na putu, a sve to potkraj osamdesetih početkom devedesetih godina prošloga stoljeća, u doba nadolazeće ratne kataklizme kada ljudi počinju nestajati.

The eighth book by Damir Karakaš, born 1967 in Plaščica by Brinje, is a novel titled Blue Moon, about Čarli, a rockabilly and a failed agronomy student, during his studies in Zagreb. The novel tells a story about his complex relationship with his native region of Lika, about his social and love life, about an impending pregnancy, all in the late 80s and early 90s, in the time of the imminent war cataclysm when people first started to disappear.

Čarli je postao čovjek s kokoticom, urban tip za kojega njegov zavičaj i njegova obitelj nemaju razumijevanja, utoliko su njegovi kontakti sa zavičajem i obitelji uglavnom traumatični. Prepličući motive iz obiteljske povijesti sa Čarlijevom suvremenošću, Karakaš piše o rastućoj barbarizaciji, dehumanizaciji, o porastu netrpeljivosti i demonima prošlosti koji polako opet kucaju na vrata.

Čarli has become the man with a pompadour, an urban guy no longer understood by his home region and his family, and consequently his contacts with his region and his family are mostly traumatic. Interweaving motives from family history with Čarli’s present, Karakaš writes about the growing barbarization, dehumanization, about the increasing animosity and demons from the past that slowly started to re-emerge.

WHAT DOES READING MEAN TO YOU?

Reading = breathing

ŠTO JE MENI ČITANJE?

Čitanje = disanje

MAŠA KOLANOVIĆ: JAMERIKA, Algoritam, Zagreb 2013.

Maša Kolanović je zagrebačka pjesnikinja, prozaistkinja i znanstvenica, rođena 1979. godine, a danas zaposlena na Katedri za kroatistiku na Odsjeku za suvremenu hrvatsku književnost. Već od njezine prve zbirke poezije „Pijavice za usamljene“ pa preko prve prozne knjige „Sloboština Barbie“, konačno kroz njezin znanstveni rad „Udarnik, buntovnik, potrošač“ koji se bavi popularnom kulturom i hrvatskim romanom od socijalizma do tranzicije, očita je njezina sklonost promišljanju i u primanju popkulturnih intermedijalnih utjecaja. Svi ti utjecaji, vjerojatno su se najbolje saželi i hibridizirali u knjizi „Jamerika“, u halucinantnom a možemo reći i halucidnom tripu kojim je posvojena ta Amerika. „Jamerika“ je putopis i narativna poema, koktel poezije, proze, stripa, za koji je autorica napisala tekst, napravila kolaže i nacrtala ilustracije.

Maša Kolanović is a poet, prose-writer, and a scholar from Zagreb, born in 1979, now works at the Contemporary Croatian Literature Section at the Department of Croatian Studies in Zagreb. From her first collection of poetry, Pijavice za usamljene (Leaches for the Lonely), to her first novel Sloboština Barbie, to, finally, her scientific paper, Udarnik, buntovnik, potrošač (Shock Worker, Rebel, Spender), which deals with the popular culture and Croatian novel-writing from socialism to transition, one can clearly perceive her affinity to deliberation even when it comes to receiving pop-cultural multimedia influences. All the influences have probably best condensed and hybridized in her book Jamerika, in a hallucinatory and, we could also say, “hallucid” trip that adopted America. Jamerika is a travelogue and a narrative poem, a cocktail of poetry, prose, comic, which the author wrote the text, made collages, and drawn illustrations for.

„Jamerika“ govori o obiteljskom posjetu sinu i bratu, emigrantu iz tranzicijske zemlje u SAD, u doba nedavne ekonomske krize. Naratorica posjećuje New York, središte financijske moći, Los Angeles, središte društva spektakla, Las Vegas, središte zabave, i Grand Canyon, dakle monumentalno, prirodno bogatstvo. Cijela obiteljska priča tek je povod za sveopći spjev o društvenom, kulturalnom i mitskom liku Amerike. Maša Kolanović je rekla o svojim putovanjima. „Mene putovanja pune adrenalinom posebice kad je riječ o underground estetici velikih gradova, divljoj umjetnosti ulice, grafitima, plakatima, flyerima, ponekad to može biti kakva naljepnica u javnom wc-u ili pljuvačka u metrou. Kad putujem, kao da dobivam nove moždane stanice, na spasonosan se način odmičem od matične sredine premda je njezin teret nemoguće posve odbaciti, pa osim eskapizma, promatranja i opijanja, putovanje uvijek nosi i prtljagu usporedbe.“ Shvatili ste, „Jamerika“ Maše Kolanović je „žanrovski melting-pot koji preskače svaki plot posvećen putnicima bez pardona i beskućnicima bez plafona“.

Jamerika talks about a family visit to a son and brother, an emigrant from a country in transition to the USA during the recent recession. The narrator visits New York, the centre of financial power, Los Angeles, the centre of the society of spectacle, Las Vegas, the centre of amusement, and Gran Canyon, a monumental natural treasure. The whole family story is just an excuse for a grand epic on the social, cultural, and mythical face of America. Maša Kolanović said about her travels: “Travels fill me up with adrenaline, especially when it comes to the underground aesthetics of big cities, wild street art, graffiti, posters, flyers, sometimes it’s a sticker in a public restroom or a spit in the subway. Whenever I travel, it’s like I gain new brain cells, I move away from the home terrain in a life-saving way, although its burden is impossible to get rid of completely, so together with escapism, observing, and drinking, travels always carry the baggage of comparison.” You get the picture: Maša Kolanović’s Jamerika is a “melting pot of genres that jumps over every fence meant for non-apologetical travellers and ceilingless vagrants.”

WHAT DOES READING MEAN TO YOU?

For me, reading is something between the oxygen and cigarette smoke, it keeps me alive and it’s addiction at the same time.

ŠTO JE MENI ČITANJE?

Za mene, čitanje je nešto između kisika i cigareta, zadržava me živ i to je ovisnost u isto vrijeme.

DAŠA DRNDIĆ: BELLADONNA, Fraktura, Zagreb 2012.

Daša Drndić ovako sama sebe opisuje: „Daša Drndić rodila se u Zagrebu 1946. Imala je nekoliko sasvim različitih života u različitim gradovima različitih zemalja, uz različite ljude. Studirala je medicinu. Udala se za zubara. Diplomirala je anglistiku, razvela se od zubara. Magistrirala je dramaturgiju. Bavila se dokumentarnom radiofonijom. Napisala je tridesetak radio drama. Prevodila je, podučavala, plivala, ličila stanove, lakirala parkete, pravila namještaj. Družila se sa svojim djetetom trinaest godina intenzivno, a onda je ponovno počela pisati. Ne zna kukičati, ali zna kuhati. Više joj se ništa ne radi. Ne voli pisati svoju biografiju. Trenutno živi u Rijeci i nije sigurna da zna što tamo radi.“ Ta autorica niza hvaljenih i nagrađivanih romana u svojem opusu vodi kontinuirano boj s fašistoidnim bezumljem i nasiljem u društvu koje je okružuje. A boj vodi pisanjem, pisanjem koje, sama kaže, za nju jest težak i spor proces.

Daša Drndić describes herself like this: “Daša Drndić was born in Zagreb in 1946. She has lived several different lives in several different cities in different countries, alongside different people. She studied medicine. She married a dentist. She received her BA in English, divorced the dentist. Earned an MA in dramaturgy. She worked in documentary broadcasting. She wrote 30 or so radio dramas. She translated, taught, swam, painted apartments, varnished hardwood floors, and built furniture. She spent 13 years hanging around with her child, and then started writing again. She doesn’t crochet, but she does cook. She doesn’t feel like working any more. She doesn’t like writing her bio. Currently she lives in Rijeka, but is not sure exactly why.” The author of a number of acclaimed and award-receiving novels, throughout her work she has been in constant battle with the fascist mindlessness and violence permeating the society she lives in. She fights it with writing, which, she claims, is a slow and strenuous process.

Roman „Belladonna“ iz 2012. godine u sebi nosi, kako sama autorica kaže, elemente njezine biografije. Glavni lik je, Andreas Ban, kako autorica piše, „kombinacija više ljudi koje poznajem, Jedan psiholog po profesiji se stjecajem okolnosti zaposlio na fakultetu tako da je imao uvid u akademsku zajednicu, pa je malo kritičan prema njoj. Osiromašen je i odbačen. Još su navalile razne bolesti na njega. Po vlastitom mišljenju on je bio neki angažirani intelektualac, relativno pošten, nigdje nije ništa ukrao, cijeloga života je kupovao neke knjige, proučavao i oglašavao se. Na kraju, u 66-oj godini vidi da to nije imalo nikakvog rezultata, da je stvarno odbačen, i siromašan i bolestan, I siromaštvo i bolest oduzimaju mu neko dostojanstvo, i on ne vidi kako dalje. Da li će se neko društvo uzrujavati zbog toga što će se on ubiti, ili što će nestati? Neće se uzrujavati. I Jan Palach se spalio pa nikome ništa. I u ovome se romanu autorica postmodernističkim prepletom autobiografskih elemenata, dokumentarističkih segmenata i imaginarnih ulomaka jasno opire dominantnom stvarnosnom stilu hrvatske proze i traga za zahtjevnijim čitaocima.

The novel Belladonna from 2012 has, as the author herself tells us, elements of her biography. The protagonist, Andreas Ban, is according to her “a combination of several people I know”. A psychologist somehow ends up working at a university, where he has an insight into the academic community, which makes him critical of it. He’s impoverished and outcast. On top of everything, he’s plagued by a number of illnesses. He used to consider himself an engaged intellectual, relatively upright, never stole anything, bought books his whole life, studied them and spoke his mind. Ultimately, aged 66, he realizes it has all been pointless, that he really is rejected, poor, and sick; poverty and sickness detract from his sense of dignity, and he sees no way out. Will society be upset if he commits suicide, or if he disappears? They won’t be upset. Jan Palach set himself on fire and nothing happened. In this novel as well, the author decidedly fights the dominant realist style in Croatian prose with her postmodernist weave of autobiographical elements, in search of more demanding readers.

WHAT DOES READING MEAN TO YOU?

In order to ask questions (through characters), a writer should know a thing or two, read a little, listen what others have to say.

ŠTO JE MENI ČITANJE?

Da bi se postavljala pitanja (preko likova), pisac bi trebao znati nešto, čita malo, slušajte što drugi kažu.

SIBILA PETLEVSKI: SPOJENA LICA/JOINED FACES, HDP i Dirieux, Zagreb 2006.

Sibila Petlevski, 1964. godine u Zagrebu, književnica i prevoditeljica, urednica, znastvenica, predaje na Akademiji dramske umjetnosti. Piše poeziju, prozu, eseje, drame, kritike i kritičko-znanstvene tekstove. Dobitnica je nagrade Vladimir Nazor. Kako sama kaže, sloboda kreativnosti ima svoju cijenu. Ona je plaća, ne ovisi o politici, podstanar je ne boji se da neće imati dovoljno novaca. Jedini stvaran prostor u kojem se dobro osjeća jest prostor slobode prostor djelovanja.

Sibila Petlevski, born 1964 in Zagreb, writer, translator, and scholar, teaches at the Academy of Dramatic Art. She writes poetry, prose, essays, plays, reviews and criticism. She received a Vladimir Nazor award. In her own words, the creative freedom has its price. She pays it, doesn’t depend on politics, she rents an apartment she lives in, and is not afraid she would run out of money. The only space she feels comfortable in is the space of freedom, the space of action.

Poeziju Sibile Petlevski obilježava takozvana visoka metaforičnost, u zbirci „Spojena lica“ ona pokušava govoriti o spajanju, o nekovrsnoj alkemiji riječi i pojava to jest predmeta o kojima piše. Piše propitujući zbilju i struju života nadilaženjem onoga sirovoga, površnoga i površinskoga, onih, kako sama kaže, „krpa“ koje bi nas mogle posve nepravedno nadživjeti.

Sibila Petlevski’s poetry is characterized by the so-called high metaphoric content, in her collection Spojena lica (Joined Faces) she tries to talk about joining, a certain alchemy of words and items, or objects she writes about. She writes questioning reality and the stream of life, rising above the crude, the superficial, and the surface, above what she calls “rags” that might utterly unjustly outlive us.

WHAT DOES READING MEAN TO YOU?

Simply put: reading for me is a part of the writing process. My reading is
guided by my curiosity, as is my life in general.

ŠTO JE MENI ČITANJE?

Jednostavno rečeno: čitanje za mene dio je procesa pisanja. Moje čitanje je vođen mojom znatiželjom, kao i moj život općenito.

EDO POPOVIĆ: IZLAZ ZAGREB JUG/ZAGREB, EXIT SOUTH, Meandar, Zagreb, 2003.

Edo Popović je novozagrebački pisac, kolumnist i novinar rođen u Livnu 1957. godine. Nakon njegove pojave na sceni prozom Ponoćni boogie 1987. godine nije se oglašavao predugih 13 godina. Tvrdi da ga je na scenu vratio Festival A književnosti čiji je bio sudionik. Nakon Festivala A književnosti, takozvanoga FAK-a, počinje ponovo pisati priče, novele. Svoj prvi roman Izlaz Zagreb jug objavljuje 2003. godine kao ultimativno urbani pisac, to je roman koji govori o nekolicini likova koji se dosta neambiciozno potucaju zagrebačkim kvartom, Utrinama.

Edo Popović is a writer, columnist, and journalist born in Livno in 1957, now residing in New Zagreb. After his first appearance on the literary scene with his Ponoćni boogie (Midnight Boogie) in 1987, he remained silent for 13 long years. He claims that it was the A Literary Festival, in which he participated, that brought him back to the scene. After the A Literary Festival, the so-called FAK, he starts writing stories again, novellas, to be precise. His first novel, Izlaz Zagreb jug, (Exit Zagreb South) was published in 2003 and established him as the ultimate urban writer; it is a novel about several characters who rather unambitiously loiter around a Zagreb neighbourhood, Utrine.

U središtu grupe likova nalazi se Baba, novinar, nerealizirani pisac, ali zato realizirani alkoholičar. Baba nije samo umorni četrdesetogodišnjak, nego je i rezignirani čovjek koji ne želi sudjelovati u ganjanju tranzicijskog vlaka, a samim time postaje luzer i egzistencijalni problem. Popovićeva naracija u ovom romanu je skokovita, skače sa lika na lik, i slika ih u polutotalu. Njegov izraz je urbano melankoličan, njegov jezik, nekada zajapuren i seksipilan, kako je to bilo u „Ponoćnom Boogiju“, postaje trezveno oruđe za opis i demistifikaciju zbilje. I dalje on s lakoćom piše o egzistencijalnoj težini.

In the centre of the group is Baba, a journalist, unsuccessful writer, but a successful alcoholic. Not only is Baba a tired 40-year-old, he’s also a resigned man who does not wish to chase the transition train, hence becoming a loser and an existential issue. Popović’s narration in this novel is jumpy; he jumps from character to character, and catches them in full shot. His expression is urban melancholy, his language – at times flushed and sexy, as was the case in Midnight Boogie – becomes a sober tool of description and demystification of reality. He still writes effortlessly about the existential weight.

WHAT DOES READING MEAN TO YOU?

Reading is writing by other means.

ŠTO JE MENI ČITANJE?

Čitanje je pisanje drugim značenjem.

MARKO POGAČAR: CRNA POKRAJINA/BLACK PROVINCE, Algoritam, Zagreb 2013.

Marka Poagačara, pjesnika rođenoga 1984. godine u Splitu danas se mora tražiti po raznim europskim adresama jer uglavnom putuje i promovira svoju, već na mnoge jezike prevedenu poeziju. Njegova četvrta zbirka poezije „Crna Pokrajina“, iza lijepe prostorne metafore, njegove najjače karte, krije, simplificirajmo to malo, noć. U ovoj zbirci pokazuje se Pogačarova tamna mitologija, jer za njega je svjetlost ono što je preduvjet za opsjenu, za privid, za varku, a stvarnost je „tamna mirisna tvar“. Istodobno, Pogačar ni u ovoj zbirci ne napušta barikade lirskog aktivizma koje je već prije zaposjeo. Bila bi to društveno-politička šteta.

Mark Pogačar, poet born in 1984 in Split, these days has to be hunted for at various European addresses for he mostly travels around promoting his poetry, already translated into a number of European languages. His fourth book of poetry, Crna pokrajina (Black Province), behind the beautiful metaphor, his strongest suit, hides – let’s make it simple – night. This collection shows Pogačar’s dark mythology, because light for him is a precondition for illusion, guise, deception, and reality is a “dark, fragrant matter”. At the same time, in this book, as always, Pogačar doesn’t leave the barricades of lyrical activism he had occupied a while ago. It would be a socio-political waste.

Unatoč ležernosti njegovih stihova Marka Pogačara nije lako slijediti. Njegova misao meandrira, mislim da izbjegava kanjone, a ponekad kao ponornica izbije tamo gdje joj se najmanje nadaš, sva u aluzijama i asocijacijama. Mislim da preferira delte, sklonost raznolikoga prema jednom, a to jedno je tada protočno, srdačno, sočno. Svakako, radi se o slapovima stihova.

Although loose, Marko Pogačar’s verses are not easy to follow. His thought meanders, I think it avoids canyons, and sometimes a subterranean river emerges where one least expects it, all allusions and associations. I think he prefers deltas, the affinity of manifold to one, and this One is now free-flowing, amiable, juicy. Certainly, it’s a verse waterfall.

WHAT DOES READING MEAN TO YOU?

Reading is life in its simultaneity, a way to put space and time in parenthesis, to bend them into a bow, the arrow of which uncovers and changes worlds. Reading is a weapon, crossing the border by destroying it; by denying its very concept.

ŠTO JE MENI ČITANJE?

Čitanje je život u njegovoj istovremenosti, način stavljanja razmaka i vremena u zagradama, savijanje ih u luk, čija strelica otkriva i mijenja svjetove. Čitanje je oružje, prelazi granicu uništavajući ga; negirajući svoj koncept.

ZORAN FERIĆ: MIŠOLOVKA WALTA DISNEYA / WALT DISNEY'S MOUSETRAP, Naklada MD, Zagreb 1996.

Zoran Ferić je osnovnu školu i gimnaziju završio na adresi Mesićeva 35, onda je nakratko napustio spomenutu zgradu, upisao filozofski fakultet u Zagrebu, tu diplomirao jugoslavistiku, e da bi se u istu tu zgradu vratio kao profesor hrvatskoga jezika i književnosti.

Zoran Ferić was born in Zagreb in 1961. He received a BA in Yugoslavian studies at the Faculty of Humanities and Social Sciences, and has been working as a Croatian teacher at the XVIII Gymnasium in Zagreb since 1994. He was publishing stories in magazines and newspapers since 1987, but his first collection of short stories, Mišolovka Walta Disneya (Walt Disney’s Mousetrap), was published by Naklada MD in 1996. Ten years later he received a Dekada award for it. For his second collection of short stories, Anđeo u ofsajdu (An Angel in Offside), published in 2000 by Naklada MD, he received a Ksaver Šandor Gjalski award and Jutarnji list Prose Book of the Year award. His first novel, Smrt djevojčice sa žigicama (The Death of the Little Match Girl), was published in 2003 by Naklada MD, and the following year Profil published the collection of columns he was writing for Nacional weekly, titled Otpusno pismo (Letter of Discharge). His novel Djeca Patrasa (The Children of Patras) was published in 2005 in the Premijera imprint of Jutarnji list. Six years later, in 2011, his novel Kalendar Maja (The Maya Calender) was published and received Vladimir Nazor, Jutarnji list, City of Zagreb, and Kiklop awards. His second collection of selected columns, Apsurd je zarazna bolest (Absurdity is a Contageous Disease), was published in 2012. Late in 2015 his novel Na osami blizu mora (In Seclusion by the Sea) was published, about the lives of skirt-chasers on the island of Rab in the late 1970s and 80s. He received a Fran Galović award for it. Ferić’s books have been translated into German, English, Polish, Ukranian, Slovenian, Italian and Spanish.

„Mišolovka Walta Disneyja“ prva zbirka priča Zora Ferića donijela je deset priča, odreda maestralno, virtuozno ispisanih i komponiranih, a pri tome Zoran Ferić je znao pokazati kako se emontivno može „prešaltati“ i spojiti naizgled nespojivo, začas je iz sjete prešao u sarkazam, iz nostalgije u tugu, a sve zajedno zagrnuo je itekako moćnim humorom. Dominantna vrsta humora kod njega jest crni humor, i on se bavio stvarno tumorima našeg društva, aktualiteta, suvremenosti.Možemo reći da se Zoran Ferić bavio doslovce uzemljenjem.

Mišolovka Walta Disneya (Walt Disney’s Mousetrap), Zoran Ferić’s first collection of short stories, brings us ten stories, all brilliantly, adeptly written and composed, and along the way Zoran Ferić was able to show that he can “switch” emotionally and mix the unmixable, he went from melancholy to sarcasm in a flash, from nostalgia to sorrow, all together veiled with utterly powerful humour. The prevailing brand of humour in his work is surely dark humour, and he did deal with cancers of our society, actuality, the present. We could say that Zoran Ferić literally worked on the grounding.

WHAT DOES READING MEAN TO YOU?

An escape, an outing, a paralel life, a habit, an addiction, boasting, self-realization, a revenge, relaxation, anger, snobbery, a return to somewhere, the loss of eyesight, a pain in the small of my back, learning, self-improvement and deterioration at the same time, a thorn in my side, sex, night; an adventure, bathwater gone cold, envy, kindness…

ŠTO JE MENI ČITANJE?

Bijeg, izlazak, paralelni život, navika, ovisnost, hvalisanje, samospoznaja, osveta, opuštanje, bijes, snobizam, povratak negdje, gubitak vidljivosti, bol u malim leđima, učenje, samo-poboljšanje i pogoršanje u isto vrijeme, trn u mojoj strani, spol, noć; avantura, kupanje vode koja je hladno, zavisti, ljubaznost …

MILJENKO JERGOVIĆ: RUTA TANNENBAUM, Durieux, Zagreb, 2006.

„Ja sam pisac onih koji me žele, onih koji čitaju moje knjige, razumiju ih iskustvom materinjeg jezika, a njihovu priču doživljavaju kao priču iz vlastitoga svijeta.“ Tom rečenicom pokušava Miljenko Jergović, rođen 1966. u Sarajevu, a preseljen 1993. u Zagreb, odgovoriti na pitanje je li on bosanski ili hrvatski autor, pitanje koje je u nekom trenutku gotovo postalo važnije od njegova autorstva više od trideset knjiga poezije, proze, esejističke, novinskih tekstova. Taj autor rođen 1966. godine u Sarajevu jest autor koji svojim tekstovima vrlo često provocira sredinu u kojoj živi, ali istodobno vrlo često on je i demistificira. Kako sam kaže, gladan je knjiga, i cijeli njegov društveni život u Hrvatskoj sveden je sada u ovom trenutku upravo samo na knjige.

Miljenko Jergović, born 1966 in Sarajevo. A note on his website says author and journalist. In his own words: I am an author, both a journalist and a writer. He received his BA in philosophy and sociology in Sarajevo. In 1988 he appeared on the literary scene with his first collection of poetry titled Opservatorija Varšava, that he received an Ivan Goran Kovačić and Mak Dizdar awards. In 1993 he moved to Zagreb, and in 1994 he published a collection of short stories Sarajevo Marlboro, and that’s how it all started: numerous novels, numerous collections of short stories, collections of poetry, and numerous newspaper articles, often highly controversial.

Romanu Rod spoj je fikcionalnoga i nefikcionalnoga, autobiografskoga i imaginarnoga. Autor progovara o svojoj obitelji, o folksdojčerskoj sastavnici svoje obitelji, o svom pradjedu Karlu Stubleru i dalje. Rod je roman koji se eliptično kreće i ponavlja, kako sam autor kaže, kreće se poput austro-ugarskoga stepeništa. Obitelj, posebno kada ima nesretnih okolnosti, uvijek je vrelo nadahnuća za svakoga pisca, tako je Miljenko Jergović ispisao stotine stranica o svojemu rodu, ali o društvima koja je taj rod obasegao.

Ruta Tannenbaum is a novel about a young Jewish girl, who became a theatre star at the age of 9; aged 15, she ended up in a concentration camp. The novel is loosely based on the biography of Lea Deutsch, but primarily it’s a novel about Zagreb, about a two-faced, petty-bourgeois, hypocritical city, where in the times of great historical upheavals, when people are stripped down to their ancestry alone, many people cared more about their soup and turkey roast. It is a novel about human cowardice, about the fact that, when times are dire and life hangs in the balance, we often become invisible to one another.

WHAT DOES READING MEAN TO YOU?

Somebody might find this pathetic or falsely sentimental: reading is almost like breathing to me. If I were not breathing for ten minutes or so, I would stop living. If I were not reading for an undetermined time period, I would also stop living. The difference is only in the duration of shortage. It is good to breathe and to read. Everything else is less important.

ŠTO JE MENI ČITANJE?

Netko bi mogao pronaći ovo jadno ili lažno sentimentalno: čitanje je gotovo poput disanja za mene. Ako nisam disao desetak minuta, prestat ću živjeti. Ako ne čitam za neodređeno vremensko razdoblje, prestat ću živjeti. Razlika je samo u trajanju nedostatka. Dobro je disati i čitati. Sve ostalo je manje važno.

OLJA SAVIČEVIĆ IVANČEVIĆ: PJEVAČ U NOĆI/SINGER IN THE NIGHT, Algoritam, Zagreb, 2012.

Olja Savićević Ivančević, rođena je u Splitu 1974. godine a piše poeziju, prozu i drame. Nakon velikog uspjeha romana Adio kauboju napisala je roman Pjevač u noći, romansu, ili kvaziljubić, ali pisan visokim, gustim, poetiziranim stilom, koji nije nimalo naivan ni sentimentalan, ali ni ni parodičan niti podrugljiv prema ideji ljubavi.

„Stvarno sam željela napisati običan ljubavni roman ili barem roman o ljubavi, ali sada i ovdje. A činjenica je da je »sada i ovdje« toliko premreženo egzistencijalnim problemima i politizirano da sam morala pisati o mogućnosti ljubavi u vremenu bez ljubavi, u vrijeme bijede, materijalne i moralne, u vrijeme poraća, mržnje.“

Pjevač u noći je roman koji je uključio široku paletu različitih umjentičkih i kulturnih utjecaja, osjeti se ovdje utjecaj epistolarnog romana, govorništva, romana ceste, cijeli niz splitskih ikona je ovdje na različite načine spomenut i dotaknut, ali i pop kultura: svijet tv sapunica i celebrity kultura našli su svoju egzistenciju u okviru ovog romana.

Olja Savičević Ivančević, born in Split in 1974, writes poetry, prose, and plays. Following the great success of her novel Farewell, Cowboy, she wrote the novel Pjevač u noći (Singer in the Night), a romance, or quasi-romance novel, but written in a high, dense, poetic manner, far from naive or sentimental, but also far from being a parody or a mockery of the idea of love. “I honestly wanted to write a regular love story, or a novel about love, only here and now. It’s a fact that ‘here and now’ is so intertwined with existential problems and politicized that I had to write about the possibility of love in a loveless time, in the time of poverty, both material and moral, in a post-war era full of hate.” Pjevač u noći is a novel that included a wide spectrum of various artistic and cultural influences; one can sense an influence of epistolary novel, oratory, road novel, a number of Split icons are mentioned and touched upon in various ways, and so is the pop-culture: the world of soap opera and celebrity culture found their existence within the novel.

Naranča Peović, uspješna scenaristica tv sapunica, juri u svom zlatnom kabrioletu, ne bi li preduhitrila zaborav, i otrgnula sjećanju svoju ljubav s umjetnikom Slavujem. Kroz konstruiranje njezina života Olja Savićević Ivančević dekonstruira cijeli žanr romanse. Put Naranču vodi od Ljubljane preko Splita, koji usput i remitologizira, jer nije njezin Split Split Prokurative i rive, nego urbani, socijalistički građen Split III, a onda i cijeli taj putopis završava u Bosni koja trpi još posljedice poraća. Olja Savićević Ivančević piše lijepo i duboko. Jezičnu dinamiku dostigla je poetiziranjem, što joj nije bilo teško budući je uspješna pjesnikinja. Osim toga iskombinirala je puno različitih diskursa, onaj epistola, onaj govorništva, pa sve to još i tonski zapisala, pa onda prepisala kao svojevrsne transkripte. Sve to zajedno učinilo je jezik ovog romana oslobođenim i oslobađajućim.

Naranča Peović, a successful soap-opera writer, races in her golden convertible, trying to prevent oblivion and dust off the memory of her love affair with an artist Slavuj. By constructing her life, Olja Savičević Ivančević deconstructs the whole romance genre. Naranča’s travels lead her from Ljubljana to Split, the city she re-mythologizes along the way, because her Split is not the Split of Prokurative and waterfront, but the urban, socialist buildings of Split III, and then her travelogue ends in Bosnia, still suffering the post-war ramifications. Olja Savičević Ivančević writes beautifully and deeply. She achieves the linguistical dynamics through poeticizing, which is no trouble for her since she is an acclaimed poet. Apart from that, she combinedvarious types of discourse: epistle, oratory, and then she put everything into a sound recording, which she then noted down in a sort of a transcript. It all made the language of the novel free and liberating.

WHAT DOES READING MEAN TO YOU?

Reading is our sixth sense, superpower, not everyone has it, but those who know how to read are very lucky indeed – they are the ones who know how to claim concentrated time and selected experience of hundreds of lives, not to mention hundreds of discovered worlds.

ŠTO JE MENI ČITANJE?

Čitanje je naš šesti čulo, superpojstvo, a ne svatko ima, ali oni koji znaju čitati vrlo su sretni – oni su oni koji znaju tražiti koncentrirano vrijeme i odabrano iskustvo stotina života, a da ne spominjemo stotine otkrivenih svjetovi.

IVANA ŠOJAT: UNTERSDTADT, Fraktura, Zagreb 2010.

Ivana Šojat Kuči, rođena 1971. u Osijeku, isprva je studirala matematiku i fiziku da bi 1993. preselila se u Belgiju gdje je i diplomirala francuski jezik. Otada je napisala mnogo nagrđivanih romana, nekoliko zbirki pripovijedaka i poezije, a i prevela mnoge knjige s francuskoga i engleskoga jezika. Njezin književni opus obilježava zainteresiranost za bližu i dalju povijest ovih naših prostora transponiranu traumama pojedinaca.

Ivana Šojat Kuči, born 1971 in Osijek, first studied maths and physics and then moved to Belgium in 1993 and received a BA in French as well. Since then she has written a number of award-winning novels, several short story and poetry collections, and translated a number of books from French and English. Her literary work is characterized by her interest in recent and not-so-recent history of the region transposed to individual traumas.

Roman „Unterstadt“ iz 2010. godine dobitnik je nagrada Vladimir Nazor, Ksaver Šandor Đalski, Fran Galović i Josip i Ivan Kozarac. To je klasična povijesna saga o nekoliko generacija osječke građanske obitelji njemačkih korijena u rasponu od jednog stoljeća, u ovom slučaju dvadesetoga, ispripovijedana iz vizure njezinih ženskih protagonistkinja. Riječ je o tipičnim obiteljskim prešućivanjima, skrivanjima, o izborima pogrešnih strana, o sudbonosnim i sudbinskim odlukama. Ciklična koncepcija povijesti pri kojoj se vlasti samo smjenjuju a obični ljudi samo pate, okvir je za autoričino pisanje ovoga romana. Individualna sudbina samo je odraz šire slike.

The 2010 novel Unterstadt received the Vladimir Nazor, Ksaver Šandor Đalski, Fran Galović, and Josip i Ivan Kozarac awards. It’s a classical saga about several generations of a middle-class Osijek family of German descend, spanning a century – in this case, the 20th century – told form the perspective of its female protagonists. It’s a story about typical family secrets, hiding, choosing wrong sides, and making fateful and far-reaching decisions. The cyclical concept of history, where the governments come and go and ordinary people do nothing but suffer, makes a framework for the author’s construction of the novel. Individual fate is but a reflection of the bigger picture.

WHAT DOES READING MEAN TO YOU?

Reading is the only true area of exchange with the world as the insight not limited to either space or time. Without reading there is no true thinking, and therefore no writing.

ŠTO JE MENI ČITANJE?

Čitanje je jedino istinsko područje razmjene sa svijetom kao uvid koji nije ograničen na bilo koji prostor ili vrijeme. Bez čitanja nema istinskog razmišljanja i stoga nema pisanja.

Ostali autori i njihova književna djela na Međunarodnom sajmu knjiga u Frankfurtu 11.10.-15.10.2017.

Romb

  • MARINA MARIJA HIPP, ‘GOOD OR BED – GOOGLE OR GODMOTHER’

Fokus komunikacije

  • KENAN CRNKIĆ, ‘7 TAJNI USPJEHA’
  • TOMISLAV TOMIĆ, ‘ZEMLJA SNOVA’
  • JO NESBO, ‘ŽEĐ’
  • YUVAL NOAH HARARI, ‘HOMO DEUS’
  • R.J. PALACIO, ‘ČUDO’

Srednja Europa

  • MARIJETA RAJKOVIĆ IVETA, VLADIMIR IVETA, ‘ONI KOJI NOĆU USTAJU IZ GROBA. VAMPIRI OD LOKALNIH PRIČA DO POPULARNE KULTURE’
  • BRANIMIR JANKOVIĆ, ‘MIJENJANJE SEBE SAME. PREOBRAZBE HRVATSKE HISTORIOGRAFIJE KASNOG SOCIJALIZMA’
  • BOJAN BALKOVEC, ‘SVI NA NOGE, SVI VAN, DA POBJEDA BUDE ŠTO SJAJNIJA! IZBORNA TEORIJA I PRAKSA U MEĐURATNOJ JUGOSLAVIJI’
  • GABI ABRAMAC, ‘DOS HEYLIKE YIDISH VORT. JIDIŠ I DRUGI JEZICI ORTODOKSNIH ŽIDOVA U NEW YORKU’
  • ALEKSANDRA ŠČUKANEC, ‘PRIČE IZ ZABORAVLJENOG KRAJA: JEZIČNI NARATIVI MIGRANATA IZ ŽUMBERKA’

Matica Hrvatska

  • Viktor Žmegač, ‘ČETIRI EUROPSKA GRADA’
  • RANKO MATASOVIĆ, ‘LINGVISTIČKA POVIJEST EUROPE’
  • POVIJEST HRVATA SV. I, ‘NOVA ZRAKA EUROPSKOG SVJETLA’
  • POVIJEST HRVATA SV. VI, ‘TEMELJI MODERNE HRVATSKE’
  • DAMIR BARBARIĆ, ‘SKLADBA SVIJETA PLATONOV “TIMEJ”
  • PAVAO PAVLIČIĆ, ‘LJUBAV ZA DOSADNE KNJIGE’
  • MARKO SAMARDŽIJA, ‘DEKLARACIJA O O NAZIVU I POLOŽAJU HRVATSKOG KNJIŽEVNOG JEZIKA 1967.-2017.’

Alfa

  • DARKO HUDELIST, ‘RIM, A NE BEOGRAD PROMJENA DOBA I MIRNA OFENZIVA KATOLIČKE CRKVE U HRVATSKOJ U TITOVOJ SFR JUGOSLAVIJI (1975.-1984.)’
  • ANDRIANA CIPRIĆ, ‘FRA JAKI JOAKIM GREGOV: KIPARSKI BREVIJAR; A SCULPTORS BREVIARY’
  • TONI NIKOLIĆ, ‘SISTEMATSKA BOTANIKA – RAZNOLIKOST I EVOLUCIJA BILJNOG SVIJETA’
  • TONI NIKOLIĆ, ‘PRAKTIKUM SISTEMATSKE BOTANIKE’
  • TONI NIKOLIĆ, ‘MORFOLOGIJA BILJAKA’

Durieux

  • AMIR ALAGIĆ, ‘STOGODIŠNJE DJETINJSTVO’
  • IVANA ROGAR, ‘TUMAČENJE SNOVA’
  • IVA UŠĆUMLIĆ, ‘OMARA’
  • ŽELJKA MATIJAŠEVIĆ, ‘CRNA LIMFA / ZELENO SRCE’
  • KATARINA PEOVIĆ VUKOVIĆ, ‘MARX U DIGITALNOM DOBU’

Naklada Val

  • T. MAROEVIĆ, J. ZIHERL, ‘MONOGRAFIJA RADOIČIĆ: SAN’

Zagrebačka naklada

  • MILENA BENINI,’DA EN’
  • VANJA SPIRIN, ‘SMRTONOSNA MIZIJA’
  • MILENA BENINI, ‘ZMAJSKA ZORA’
  • ALEKSANDAR ŽILJAK, ‘POSEIDONIA’
  • ALEKSANDAR ŽILJAK, ‘IRBIS’

UPI-2M PLUS

  • NENAD FABIJANIĆ,’POSTAMENTI’
  • FEĐA VUKIĆ, ‘AUTOMOBIL – JENA POVIJEST’
  • IVAN PRTENJAK, ‘ARHITEKTURE / ARCHITECTURES’
  • ZORISLAV HORVAT, ‘BURGOLOGIJA – SREDNJOVJEKOVNI UTVRĐENI GRADOVI HRVATSKE’

Vuković&Runjić

  • MILANA VUKOVIĆ RUNJIĆ, ‘VLADIMIR I MATILDA’
  • IVAN SALEČIĆ, ‘GLAVA LAVA { DOM U DUBROVNIKU }’
  • ANDY JELČIĆ, ‘GODINA SEOBE SRCA’
  • DAVORKA VUKOV COLIĆ, ‘ALLES WALZER’
  • MARINA RALAŠIĆ, ‘SREBRNA’

Naša djeca

  • BRANKO ĆOPIĆ, VILKO GLIHA SELAN,’JEŽEVA KUĆICA’
  • BRANKO MIHALJEVIĆ, MARSELA HAJDINJAK, ‘ZEKO I POTOČIĆ’
  • ŽARKO ROJE, IVANA GULJAŠEVIĆ, ‘AVANTURE MALOGA JUJU’
  • MIRA DUPELJ, DUBRAVKA KOLANOVIĆ, ‘TATA KUPI MI AUTO’
  • IVANA GULJAŠEVIĆ, ‘ČARAPOJEDAC’
  • JURA ŽILIĆ, DANIJEL PEK, FILIP KOZINA, ‘TURISTIČKI VODIČ ISTRA’
  • JURA ŽILIĆ, DANIJEL PEK, FILIP KOZINA, ‘TURISTIČKI VODIČ DALMACIJE’
  • JURA ŽILIĆ, MANE GALOVIĆ, ‘TURIST SUVENIR KNJIGA’

Mate

  • ĐURO NJAVRO, ‘REFORME’
  • STANLEY ABERCROMBIE, SHERRILL WHITON, ‘INTERIJERI ARHITEKTURA DIZAJN’
  • STEPHEN LUCAS, ‘UMIJEĆE JAVNOG GOVORA’
  • BRENDAN SIMMS, ‘EUROPA, BORBA ZA NADMOĆ OD 1453. DO DANAS’
  • GARY DESSLER,’UPRAVLJANJE LJUDSKIM POTENCIJALIMA’

Disput

  • IRENA LUKŠIĆ, ‘BERLIN – PARIZ’
  • MIHAELA GAŠPAR, ‘O ČAJNICIMA I ŽENAMA’
  • KRISTINA GAVRAN, ‘KIŠA U INDIJI, LJETO U BERLINU’
  • MIHAELA GAŠPAR, ‘MITOHONDRIJSKA EVA’

hena.com

  • ZORAN ŽMIRIĆ, ‘PUTOVANJE DESNOM HEMISFEROM’
  • MARINA VUJČIĆ, ‘PITANJE ANATOMIJE’
  • TENA ŠTIVIČIĆ, ‘TRI ZIME’
  • IVICA IVANIŠEVIĆ, PRIMAVERA
  • EDI MATIĆ, REGIJA STRANACA

Mozaik knjiga

  • GRIGOR VITEZ, ILUST. TOMISLAV TORJANAC, ‘OGLEDALCE’
  • PIKA VONČINA, ‘ČETIRI GODIŠNJA DOBA’
  • PAVAO PAVLIČIĆ, ‘DUNAV’
  • JULIJANA MATANOVIĆ, ‘I NA POČETKU I NA KRAJU BIJAŠE KAVA’
  • GORAN TRIBUSON, ‘VRIJEME LJUBAVI’
  • LIDIJA VREČAR MIŠĆIN I ROBERT RIGO, ‘BICIKLISTIČKI VODIČ-SREDIŠNJA HRVATSKA, SLAVONIJA, BARANJA I ZAPADNI SRIJEM’

Planeotopija

  • S. HUSIĆ I M. JELIĆ, ‘KRILATI SREVIS’
  • S. HUSIĆ I M. JELIĆ, ‘KONTESA BARICA’
  • IVANA BIOČINA, ‘TIRANIJA MODE’
  • ZDENKO BAŠIĆ, ‘MJESEČEVE SJENE’
  • DUNJA GULIN I MARIO VALENTIĆ, ‘DETOKS-PROGRAM OD A DO Ž’
  • DUNJA GULIN, ‘VEGE BURGERI’

Naklada Pavičić

  • VLADIMIR MRKOCI, ‘KRATKA POVIJEST KOMUNIZMA ZA NEKOMUNISTE’
  • VLADIMIR BOBINAC, ‘INFORMBIROOVAC / USPOMENE IZ TITOVA ALCATRAZA’

Evenio

  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘HRKALO’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘HRKALO I KAMILICA’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘HRKALO I DRIJEMALO’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘KAD JE LJUT, NILSKI KONJIĆ GRIZE’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘KAD JE LJUT, ZEKO SE OZLIJEDI’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘KAD JE LJUTA, VJEVERICA NE SLUŠA’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘KAD JE LJUTA, MACU BOLI TRBUH’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘PSIĆA JE STRAH ODLASKA DOKTORU’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘OVČICU JE STRAH JER ĆE DOBITI BRATA’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘SLONICU JE STRAH VIKANJA I KAZNE’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘MEDVJEDIĆA JE STRAH OSTATI U VRTIĆU’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘ŽIRAFICA JE TUŽNA JER DJEDA VIŠE NEMA’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘PRAŠČIĆ JE TUŽAN I LJUBOMORAN NA BRATA’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘JEŽIĆ JE TUŽAN JER NIJE POBIJEDIO U IGRI’
  • TATJANA GJURKOVIĆ, TEA KNEŽEVIĆ, JELENA BREZOVEC, ‘MIŠIĆ JE TUŽAN JER MUNEDOSTAJU RODITELJI’

Naklada Ljevak

  • IVICA ĐIKIĆ, ‘BEARA’
  • JASNA HORVAT, ‘ATANOR’
  • JASNA HORVAT, ‘VILIJUN’
  • DUBRAVKA ORAIĆ TOLIĆ, ‘PETO EVANĐELJE: SEDAM DANA U SVETOJ ZEMLJI’
  • DUŠKO PETROVIĆ, ‘IZBJEGLIŠTVO U SUVREMENOM SVIJETU’
  • JASMINKA TIHI-STEPANIĆ, ‘DOM IZA ŽICE’

Ognjište

  • GILBERT KEITH CHESTERTON, ‘NEDUŽNOST OCA BROWNA’
  • GILBERT KEITH CHESTERTON, ‘MUDROST OCA BROWNA’
  • GILBERT KEITH CHESTERTON, ‘NEVJERICA OCA BROWNA’
  • GILBERT KEITH CHESTERTON, ‘TAJNA OCA BROWNA’
  • GILBERT KEITH CHESTERTON, ‘SKANDAL OCA BROWNA’
  • GILBERT KEITH CHESTERTON, ‘NAPOLEON OD NOTTING HILLA’
  • GILBERT KEITH CHESTERTON, ‘STABLA PONOSA / MIDINA MASKA’
  • CHARLES DICKENS, ‘ŽIVOT NAŠEGA GOSPODINA’
  • SELMA LAGERLÖF, ‘ČUDESNO PUTOVANJE NILSA HOLGERSSONA’
  • ANNE BRONTË, ‘AGNES GREY’
  • LJUBOV F. DOSTOJEVSKAJA, ‘EMIGRANTICA’
  • FLORENCE L. BARCLAY, ‘GOSPODARICA SHENSTONEA’
  • LAV LOVIĆ (TOMISLAV ŠVACOV), ‘ZALUTALE DUŠE’
  • DR. TOMO KUMIČIĆ, ‘OLGA D.D.’
  • ZLATKO MILKOVIĆ, ‘ZRINJEVAC’
  • JERKO SKRAČIĆ, ‘OSUNČANI OTOCI’
  • LJUBO BRGIĆ, ‘BISERKA’
  • VALENTIN MAJAR, ‘ŽIVOT ISUSOV’
  • KARL MAY, ‘GUSARSKI KAPETAN’

Sandorf

  • DAN MAZUR, ALEXANDER DANNER, ‘SVJETSKA POVIJEST STRIPA’
  • HANS BLUMENBERG, ‘RAD NA MITU’
  • DAMIR KARAKAŠ, ‘SJEĆANJE ŠUME’
  • VERA MUTAFČIEVA, ‘SLUČAJ DŽEM’
  • IVANA BODROŽIĆ, ‘IN A SENTIMENTAL MOOD’
  • ANTOINE DE BAECQUE, ‘GODARD: BIOGRAFIJA’

Naklada Ocean More

  • KRISTIAN NOVAK,’CIGANIN, ALI NAJLJEPŠI’
  • ZORAN ROŠKO, ‘MINUS SAPIENS’

Medicinska naklada

  • IVAN MALČIĆ, ANTON ŠMALCELJ, DARKO ANIĆ, DANIJEL PLANINC I SURADNICI, ‘PRIROĐENE SRČANE GREŠKE OD DJEČJE DO ODRASLE DOBI’
  • DIANA HERAK, ‘AMERIČKI KUK’
  • NIKO ZURAK, ‘METANEUROBIOLOGIJA SMRTI’
  • NIKO ZURAK, ‘BORDER ARCHETYPE’
  • LIBORIJA LUGOVIĆ MIHIĆ, MIRNA ŠITUM I SURADNICI, ‘BOLESTI KOŽE S PROMJENAMA NA LICU I USNOJ ŠUPLJINI’

Funditus

  • DR. SC. NIKŠA SVILIČIĆ, ‘PROGRAMIRANJE IGRANOG FILMA 1’
  • DR. SC. NIKŠA SVILIČIĆ, ‘PROGRAMIRANJE IGRANOG FILMA 2’
  • TAJANA OBRADOVIĆ, ‘AKUSTIKA TIŠINE’
  • DOROTEA VUČIĆ, ‘PREVARANTI: ISKUPLJENJE’
  • SUZANA BOSNIĆ MAJCENIĆ, ‘TOLBA’
  • LJERKA CAR MATUTINOVIĆ, ‘DUPLIĆI MA I LU’

HSN

  • MIROSLAV TUĐMAN, ‘DRUGA STRANA RUBIKONA’
  • MIROSLAV TUĐMAN, ‘PROGRAMIRANJE ISTINE’
  • Urednik MIROSLAV TUĐMAN, ‘TUĐMANOV ARHIV’
  • DINO MILINOVIĆ, ‘ NOVA POST VETERA’
  • ANA PERINIĆ LEWIS, ‘ OTOCI OTOKA HVARA’

Mala zvona

  • SANJA LOVRENČIĆ, ‘ZAGREBAČKO DJETINJSTVO ŠEZDESETIH’
  • SANJA LOVRENČIĆ, ‘VJEŠANJE KRADLJIVACA OVACA’
  • TAMARA BAKRAN, ‘GVALUP I DRUGE PRIČE’
  • PIKA VONČINA, ‘MAČKE…’
  • MIROSLAV KIRIN I MINGSHENG PI, ‘ZIMSKA POTRAGA’

Školska knjiga

  • DARKO BEKIĆ, ‘POVIJEST HRVATSKE DIPLOMACIJE’
  • ROBERT ADAM, ‘DIOKLETIAN”S ADAMS’
  • DAVORIN RUDOLF, ‘STVARANJE HRVATSKE DRŽAVE’
  • ROBERT HARRIS, ‘STEPINAC’
  • SNJEŽANA PAUŠEK BAŽDAR, ‘HRVATSKI ALKEMIČARI’
  • IVAN ARALICA, ‘ANASTAZIJA’
  • MILAN SIKIRICA, ‘77 KUHINJSKIH POKUSA’
  • JASNA BAGIĆ LJUBIČIĆ, ‘MALI FIZIČAR’
  • ROSIE KUGLI, ‘PRIČA O POBJEDI’
  • ŽELJKO ŽUTELIJA, ‘SANDRA PAOVIĆ’
  • KREŠIMIR NEMEC, ‘GOSPODAR PRIČE’
  • TIN UJEVIĆ, ‘POBRATIMSTVO LICA U SVEMIRU’
  • DUBRAVKA BOTICA, ‘BAROKNE ČETVEROLISNE CRKVE’
  • DUBRAVKA BREZAK STAMAĆ, ‘PISMA IZ RENESANSE’
  • HRVATSKA I EUROPA SVI SVESCI
  • GRUPA AUTORA, ‘VRH’
  • ANČIĆ DIJANA, ‘HRVATSKI U SRCU – UDŽBENIK ZA HRVATSKU NASTAVU U INOZEMSTVU’
  • ANČIĆ DIJANA, ‘HRVATSKI U SRCU – RADNA BILJEŽNICA ZA HRVATSKU NASTAVU U INOZEMSTVU OD 1.-4. RAZREDA OSNOVNE ŠKOLE’
  • KORNELIJA BENYOVSKY ŠOŠTARIĆ, ‘MALA VRTLARICA’
  • IVANČICA TAJSL DRAGIČEVIĆ, ‘BUDI DOBAR KAO JAN – DIGITALAC P91011 – ENGLESKO IZDANJE’
  • GUDELJ PETAR, ‘GOSPA OD ANĐELA’
  • TURISTIČKI PLAN GRADA ZAGREBA
  • TURISTIČKI PLAN GRADA SPLITA
  • TURISTIČKI PLAN GRADA DUBROVNIKA
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