A collection celebrating the Centennial of seminal modernist Macedonian poet Aco šopov. This substantive collection represents Šopov's creative career, starting with his first book of poetry in 1944, when he was fighting in the Yugoslav resistance to the German occupation. In the early 1950s, he published two collections that signaled a new direction for Macedonian poetry as a whole, announcing the arrival of new form “intimate lyricism�. Over the next 25 years, Šopov's work deepened further, acquiring a philosophical cosmic dimension and at times venturing into surrealism. The Long Coming of the Fire shares the work of a consummate craftsman little-known in the Anglophone world, achieving a “penetrating, resonant, and melodic� poetic language with “a lively and pregnant imagery that binds together the experience of the author and reader� (Graham W. Reid).

The Hidden Handshake uses four distinct, yet intertwined essays to address the questions surrounding our notions of citizenship, national identity, and cosmopolitan belonging. The violent disintegration of Yugoslavia and the undercurrent of EU enlargement stand out as two contrasting movements that highlight the importance of having a national identification while also defying it to avoid both the rigidity of nationalist exclusivism and the blithe nonsense of "global citizenship." Through the exploration of sociohistorical material and artistic visions as well as the author's layered identity as a Slovene, a Yugoslav, a Central European, and a European, Ale? Debeljak tries to show that it is possible to remain faithful to geography, history, and community even as one fosters links to global cultural movements. Not surprisingly, the book itself shares some of this hybrid identity. It uses not only theoretical concepts and empirical data, but also historical sketches on art, national life, and society, along with poetic autobiographical reminiscences and personal anecdotes. Ultimately, the book calls for an adoption of liberal nationalism, which is commensurate with democratic order, and for a more ecumenical understanding of artistic visions that does not discriminate on the grounds of one's place of origin.

With a global perspective, Babnik takes on the themes of racism, the role of women in modern society and the loneliness of the human condition. Dry Season is a record of an unusual love affair. Anna is a 62-year-old designer from Slovenia and Ismael, a 27-year-old man from Burkino Faso who has grownup on the street, often the victim of abuse. What unites them is the loneliness of their bodies, a tragic childhood and the hamartan dry season, during which neither nature nor love is able to flourish. Anna soon realizes that the emptiness between them is not really caused by their skin colour and age difference, but predominantly by her belonging to the Western culture in which she has lost or abandoned all the preordained roles of daughter, wife and mother. Sex does not outstrip the loneliness and repressed secrets from the past surface into a world she relsies ismuch crueller than she thought and, at the same time, more innocent than her own. Cleverly written as an alternating narrative of both sides in the relationship, the novel is interlaced with magic realism.