How can defendants be tried if they cannot understand the charges being raised against them? Can a witness testify if the judges and attorneys cannot understand what the witness is saying? Can a judge decide whether to convict or acquit if she or he cannot read the documentary evidence? The very viability of international criminal prosecution and adjudication hinges on the massive amounts of translation and interpreting that are required in order to run these lengthy, complex trials, and the procedures for handling the demands facing language services. This book explores the dynamic courtroom interactions in the International Criminal Tribunal for the Former Yugoslavia in which witnesses testify through an interpreter about translations, attorneys argue through an interpreter about translations and the interpreting, and judges adjudicate on the interpreted testimony and translated evidence.

An amnesiac writer's life of lies and false memories reaches a breaking point in this stunning English-language debut from an award-winning Croatian author. As a novelist, Matija makes things up for a living. Not yet thirty, he's written two well-received books. It's his third that is as big a failure as his private life. Unable to confine his fabrications to fiction, he's been abandoned by his girlfriend over his lies. But all Matija has is invention. Especially when it comes to his childhood and the death of his father. Whatever happened to Matija as a young boy, he can't remember. He feels frightened, angry, and responsible... Now, after years of burying and reinventing his past, Matija must confront it. Longing for connection, he might even win back the love of his life. But discovering the profound fears he has suppressed has its risks. Finally seeing the real world he emerged from could upend it all over again.

Catharine's trajectory in life is accompanied by failures in love, family traumas and an incredible romance with handsome Sinisa. The novel takes us through turbulent times in the Balkan region, from the eighties to the present day, portraying growing up in the twilight of communism, and giving intimate insights into all that happened to the region after that. Carefully crafted characters and masterful, dynamic storytelling place Catherine the Great and the Small in the company of the very best of novels, which speak about the reality of their geographic setting and are remembered for their convincing, strong, maladjusted characters. Catherine is certainly one of them: a powerful female voice seeking her place within her family, among friends, in the cities she lives in, and constructing her unique identity as a daughter, granddaughter, friend, mistress, wife and a mother.

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. She appears in many forms: as Pupa, a tricksy, cantankerous old woman who keeps her legs tucked into a huge furry boot; as a trio of mischievous elderly women who embark on the trip of a lifetime to a hotel spa; and as a villainous flock of ravens, black hens and magpies infected with the H5N1 virus. But what story does Baba Yaga have to tell us today? This is a quizzical tale about one of the most pervasive and poerful creatures in all mythology, and an extraordinary yarn of identity, secrets, storytelling and love.

Love at Last Sight is a fierce novel about marital abuse, written for wives, girlfriends, mothers, and all women who have experienced trauma in their relationships. Rudan writes with conviction and strength, drawing upon her own personal experiences to create a book with powerful insight. Like Rudan's previous fiction, Love at Last Sight moves with a strident feminist voice, and will undoubtedly leave its mark upon any reader sympathetic to Rudan's story.

Believing they were being taken to a better camp, Belgrade's Jews would climb into the truck with a sense of relief. Mainly women, children and the elderly, they expected a long and uncomfortable trip but, after crossing the border, their journey would come to an abrupt end. Here the drivers would get out and attach a hose from the exhaust to the back of the truck-Over the course of a few months in 1942 the Nazis systematically exterminated the majority of Serbia's Jews using carbon monoxide and specially designed trucks. The only information the narrator of this bleakly comic novel can find about the summer when his relatives disappeared is the names of the truck drivers: G-tz and Meyer. During his research he becomes fascinated by the unknowable characters and daily lives of these men. But his imagination proves a dangerous force, and his obsession with the past threatens to overwhelm him.

"Trieste is a monumental feat of the imagination. Impassioned and lucid, it is impossible to read it and not come away with a new understanding of the world. Dasa Drndic has given us a masterpiece that is not only brilliant, but uncompromisingly humane. How lucky we are" MAAZA MENGISTE, author of The Shadow King, shortlisted for the Booker Prize "Although this is fiction, it is also a deeply researched historical documentary . . . It is a masterpiece" A.N. Wilson, Financial Times "Trieste is a work of European high culture. Drndic is writing neither to entertain (her novel is splendid and absorbing nevertheless) nor to instruct (its subject, the Holocaust, is too intractable to yield lessons). She is writing to witness, and to make the pain stick" Craig Seligman, New York Times An old woman sits alone in Gorizia, north-eastern Italy. She is waiting to be reunited with her son. He was fathered by an S.S. officer and stolen from her sixty-two years before by the Nazi authorities during the German occupation. By focusing on the experiences of one individual, Drndic engages head-on with the traumatic history of WWII and the Holocaust and deals unsparingly with the massacre of Jews in Trieste's concentration camp. A literary collage comprising photographs, scraps of poetry, interviews and testimonies from the Nuremberg Trials, it is a formally daring work of immense power and scope. Translated from the Croatian by Ellen Elias-Bursac

How can defendants be tried if they cannot understand the charges being raised against them? Can a witness testify if the judges and attorneys cannot understand what the witness is saying? Can a judge decide whether to convict or acquit if she or he cannot read the documentary evidence? The very viability of international criminal prosecution and adjudication hinges on the massive amounts of translation and interpreting that are required in order to run these lengthy, complex trials, and the procedures for handling the demands facing language services. This book explores the dynamic courtroom interactions in the International Criminal Tribunal for the Former Yugoslavia in which witnesses testify through an interpreter about translations, attorneys argue through an interpreter about translations and the interpreting, and judges adjudicate on the interpreted testimony and translated evidence.

One of the most prominent writers to emerge from the former Yugoslavia addresses such universal themes as exile, disorientation, and obsession Displaced from his home more than twenty years ago as Bosnia, Croatia, and Serbia descended into war, Serbian author David Albahari found safety in Canada, where this novel was written. In Globetrotter, Albahari deals with the bewilderments of exile and lost identity, themes he has investigated in earlier works. But in this unsettling experimental book he also enters new arenas, where sexual identity and the nature of blame and guilt attract his scrutiny. Narrated in a single uninterrupted paragraph, the novel takes place in the late 1990s at the Banff Art Centre in the Canadian Rockies. Three men-a painter from Saskatchewan and the narrator of the tale, a writer from Serbia, and a man whose traveling Croatian grandfather long ago jotted his name in a local museum's guest book-become acquainted, then attached, then fatally entangled. On a climactic mountain hike that seethes with jealousy, desire, shame, and guilt, each man must engage in a final struggle. Albahari seizes his reader's attention and never yields it in this remarkable, gripping tale.

It was precisely at that moment, the narrator tells us, that a team of archaeologists and painters, art historians, and photographers set out almost spontaneously in search of the medieval frescoes of Istria. So begins A Brief Excursion, a picaresque adventure in which a tantalizing hint of hidden riches, forgotten beauty, and a whiff of the past lure an odd assortment of characters toward the unexpected.

A Brief Excursion, Antun Soljan's second novel, anchors this collection of fiction by one of the most significant postwar Croatian writers. The works collected here, including many stories from Soljan's first book, Traitors, reveal a sensibility both comic and poignant, devoted to questions of identity and solidarity, of how the one and the many conflict and mingle -- issues that were at the center of both political and literary life for Soljan. In one story after another -- whether fixing up a summerhouse on the Istrian coast or confronting prejudice and the past in a tourist town -- Soljan's characters are stirred to action by a chimera of longing only to find, at the end of their efforts, the stark landscape of self-knowledge and loss.

Antun Soljan's ironic, playful writing, always flirting with the political, asserts itself throughout these stories with their portrayal of the complex identity of his generation.

These are the first comprehensive learning materials after the breakup of the former Yugoslavia and the emergence of three component languages, Bosnian, Croatian, and Serbian. The textbook and the grammar can be used separately or together, while the audio materials are designed to supplement the textbook. Each of the three items is sold separately. The audio supplement CD offers audio recordings of all dialogues in Bosnian, Croatian, and Serbian.