Or so he initially thinks. Upon arrival at the theatre, he discovers that there's only one other person in the audience, a very attractive woman whom he's seated next to. Then things get a bit more mysterious. The movie he's been invited to see includes a scene showing him sitting in a park. Believing that he's an unwitting participant in a complicated hidden camera show, he goes along with the variety of setups he's faced with, which continue to get more involved and absurd. As the show develops, he becomes more and more paranoid and distrustful, but he keeps up the ruse to its thrilling conclusion.Hidden Camera was nominated for the 2007 International IMPAC Dublin Literary Award.

    The characters in these stories are caught in a world of political hypocrisy, which ultimately leads to death, their common fate. Although the stories Kis tells are based on historical events, the beauty and precision of his prose elevates these ostensibly true stories into works of literary art that transcend the politics of their time.

    At its center is a poignant story about the narrator's divorce and the fact that he isn't "the author" of his soon-to-be-ex-wife's pregnancy. Maybe he's suffering from attention deficit disorder; maybe he's just stuck with a skewed if stoic appreciation of life's messy flux. Whatever the cause, his monologue turns into a quirky, compulsively readable book that deftly hints at the emptiness and sadness at its core.(Anderson Tepper, The New York Times)

    

    the novel was condemmed by the Communist Party and subsequently banned. It is the first of his novels to appear in English.Alija Osmanovic, the protagonist of Knife, was orphaned during WWII as an infant. He was raised as a Bosnian Muslim and came to believe that the Serbs killed his family. When, as a young medical student, he goes in search of the identity of his murdered birth-parents, a sense of thwarted justice motivates him, and expresses itself as a burning passion for revenge. Alija seeks out Sikter Efendi, an eccentric and reclusive Muslim cleric, to help him interpret clues pointing to his identity. Through his mentorship, Alija discovers the truth: that his heritage is Serbian; that he was born not far away but in the neighboring village; and that his adoptive family was guilty of murdering his birth-family. A crisis of identity ensues. Each possible course of action open to him is bad. How is he to go on?

    Overwhelmed by the horror of his discoveries as they become entangled with his own feverish imaginings, he organizes a class trip. The school bus becomes Götz and Meyer’s truck, and the teacher and his students merge with Belgrade’s lost souls in a sacred act of remembering.

    It begins with the story of a brilliant but failed architect in Belgrade and his search for his father, an officer who vanished in Greece during World War II.The truth about his fate--some of it set in motion 2,000 years ago and some of it by the Nazis--is raveled in the history and secrets of Mount Athos, the most ancient of all monasteries, perched atop its inaccessible mountain on the Aegean.

    Shifting between Slovenia’s postcommunist present and its wartime occupation by the Axis powers, The Tree with No Name is Drago Jancar’s masterpiece: a compelling and universally significant story of an individual confronting the constraints set on truth by his–and every–culture.

    This sequence of events occurs and recurs in remarkably different variations in Vain Art of the Fugue.In one version, the bus driver ignores the traffic signals and is killed in the ensuing crash. In another, the protagonist is thrown off the bus, and as he chases after it, a crowd of strangers joins him in the pursuit.As the book unfolds, the protagonist, his lovers, and the people he meets become increasingly vivid and complex figures in the crowded Bucharest cityscape. Themes, conflicts, and characters interweave and overlap, creating a book that is at once chaotic and perfectly composed.“As you can see, madam, words are getting staler and staler… idiots have used them like so many wheelbarrows… loaded them up with all kinds of idiotic confessions, with all these ideas, each more stupid than the last… in short, with what people call messages.”

    When his grandfather dies, Aleks channels his storytelling talent to help with his grief.It is a gift he calls on again when the shadow of war spreads to Višegrad, and the world as he knows it stops. Though Aleks and his family flee to Germany, he is haunted by his past - and by Asija, the mysterious girl he tried to save. Desperate to learn of her fate, Aleks returns to his hometown on the anniversary of his grandfather's death to discover what became of her and the life he left behind.Translated from the German by Anthea Bell.

    A great stone bridge built three centuries ago in the heart of the Balkans by a Grand Vezir of the Ottoman Empire dominates the setting of Andric's stunning novel. Spanning generations, nationalities, and creeds, the bridge stands witness to the countless lives played out upon it: Radisav, the workman, who tries to hinder its construction and is impaled on its highest point; to the lovely Fata, who throws herself from its parapet to escape a loveless marriage; to Milan, the gambler, who risks everything in one last game on the bridge with the devil his opponent; to Fedun, the young soldier, who pays for a moment of spring forgetfulness with his life. War finally destroys the span, and with it the last descendant of that family to which the Grand Vezir confided the care of his pious bequest - the bridge.

    It is a magic tale based on an insignificant event: the painting of a roof of a bluesky color by removing it from its place. Petrovic has written a great universal story along the lines of magical realism, that reminds of some of the best books of Gabriel García Márquez, Jorge Luis Borges and Carlos Fuentes.

    It recounts the story of Sheikh Nuruddin, a dervish residing in an Islamic monastery in Sarajevo in the eighteenth century during the Ottoman Turk hegemony over the Balkans. When his brother is arrested, he must descend into the Kafkaesque world of the Ottoman authorities in his search to discover what happened to him. He narrates his story in the form of an elaborate suicide note, regularly misquoting the Koran. In time, he begins to question his relations with society as a whole and, eventually, his life choices in general. Hugely successful when published in the 1960s, Death and the Dervish is an enduring classic that was made into a feature length film in 1974.

    But Tanja's act of academic rebellion incites the rage of one renegade member of her class—and pulls her dangerously close to another—which, in turn, exacerbates the tensions of a life in exile that has now begun to spiral seriously out of control.

    Simultaneously satiric and philosophical, The Opportune Moment, 1855, opens with an Italian anarchist’s missive to his noble former mistress, an impassioned rejection of all of Europe’s latest and greatest advancements, from the Enlightenment to social reform to communist revolution. We then leap back in time half a century to the alternately somber and hilarious shipboard diary of a common Italian everyman sailing to Brazil with a motley, multinational band of idealists, to build a new society. A pitiless portrait of the often unbridgeable gap between theory and practice, The Opportune Moment, 1855 is another uproarious and unsettling attack on convention by one of literature’s great provocateurs.