Booksa.hr is a virtual twin of the Booksa literary club in Zagreb (Croatia), which is run by the organization Kulturtreger. It is an online portal for literature with the aim to inform, educate, inspire and move to action. It was first published in 2007.
Booksa.hr informs by covering, on a daily basis, relevant information on literature, including book reviews, and educates young journalists and literary critics, providing them with media space for writing on literature. It also inspires its readers to engage in public debate on the relation of literature and culture to the social and political context. Booksa.hr moves to action all those who want to contribute to literature by involving them in various literary and media projects.
The founding organization Kulturtreger – directed by Miljenka Buljevic – was established in 2003 with the purpose of promotion and popularization of literature and other forms of contemporary culture.
Kulturtreger and Booksa have initiated the project Criticize this!, of which Eurozine is a partner.
Croatia, Cyprus and Slovakia after the EP election
A mixed field of populists emerge in Croatia amid a loss of confidence in the status quo; Cyprus takes stock after a campaign defined by nationalism; and in Slovakia far-right advances underline the need for innovative politics.
Austria, Bulgaria and Croatia before the EP elections
The coming EP elections will serve as a stress test for the role that Croatia plays as the latest EU member state. It will also deliver a verdict on local elites’ efforts to restore their influence in Bulgaria and gauge popular sentiment regarding Austria’s upside-down political system.
Despite public interest, Croatian politics is too fractious and self-centred to engage in serious debate about state surveillance, while data protection and digital rights are concepts yet to enter the mainstream, writes Miljenka Buljevic of Booksa.
Croatian novelist Dejan Sorak’s latest protagonist, a Machiavellian secret policeman, serves to critique the political system and ideological matrixes, writes Gjorgje Bozhoviq.
Serbia’s neo-fascist political establishment is the target of Svetislav Basara’s satirical novel Mein Kampf, from which not even the country’s modernizing figures emerge unscathed. Not surprisingly, the reaction has been one of irritation, writes Ivan Telebar.
Thematizing the Balkan wars and the Israeli-Palestine conflict, Belgrade’s 2011 October Salon exhibition failed to get beyond dogmatic subjectivity and recycled preconceptions, writes Ana Bogdanovic.
With her finely tuned stories of romantic searching and social anomie, Maja Hrgovic offers a female perspective on the otherwise male literary terrains of wartime trauma, transition and urban bohemianism, writes Leda Sutlovic.