Izaberite jezik:
Andrija Matic | A Blackout in Five Images (2013)
Andrija Matić (1978) is a Serbian writer. His novels include A Blackout in Five Images (2013), Manhole (2009), and The Disappearance of Zdenko Kupresanin (2006). His collection of short stories is entitled The Museum of Modern Art (2010). He is also the author of T.S. Eliot: A Poet, Critic, Playwright (2007). Andrija Matić lives in Belgrade, Serbia. Andrija Matić (1978) objavio je romane Pomračenje u pet slika (2013), Šaht (2009) i Nestanak Zdenka Kuprešanina (2006), zbirku priča Muzej savremene umetnosti (2010) i studiju T. S. Eliot: pesnik, kritičar, dramski pisac (2007). Živi u Beogradu.
writer, literature, fiction, novelist, novel, short story, pisac, književnost, roman, priča

A Blackout in Five Images (2013)

In his latest novel A Blackout in Five Images, Matić takes the reader on a journey through the modern history of a Serbian town – Kragujevac. Authentic historical documents are intertwined with imaginary characters and events, forming a new literary amalgam. It is a world of outcasts, those ones whose existence is opposed to the aggressive majority, men and women who are rarely mentioned in official historiography. A Blackout in Five Images is a masterly-written novel which proves that literature can still be a shelter for all those who prefer the persecuted to persecutors.


“A Blackout in Five Images tells a story about the collapse of a city and its citizens, and if we understand this as an allegory, it refers to the whole nation whose heroic acts boiled down to utter cowardice. Ambitiously set, very well written and extremely easy to read, this novel shows how big themes, viewed from a clear ideological position, can be transformed into great literature.”

Vladimir Arsenić, E-novine

“Matić revalues the borderline relationships, the psychology of inner conflicts, focusing on the unfit, different and stigmatized by the society. Every otherness is dangerous: it undermines the mainstream and predetermined scenario […] This novel will be read by those who recognize the toponyms from the book, but also by those ones who experience them for the first time. The reader will be exposed to a historical record of a city, a testament to its bleak times, but the book itself is not bleak whatsoever.”

Sofija Živković, Danas