“There is no time left”. From the very first sentence, the new novel by Luka Bekavac, The Curfew, is recognized as a sort of a sequel to the Drenje and the awardwinning Viljevo. With its subtitle already - Premonitions, memories - this book presents itself as an entirely new narrative stage, in which the form and the pace once again undergo a thorough change.
In a series of relatively independent episodes, melancholic, comic and terrifying at times, the extended sentences in this book evoke the complex images of Osijek from the early and mid-nineties. Disguised as memoirs, a reconstruction of a private history and a struggle with the lack of the memory’s persistence, The Curfew enters the realm of the “real” only to establish an exciting interaction with the worlds of other texts by Bekavac: transcommunication, apocalypse, the other side. The already familiar author’s strategy of atypical use of science fiction and carefully (re)arranged factography acquires a new shade with this text: the lyrical, deceitfully intimate tone of a personal true story. But between its lines, in contrast with the world we easily recognize as “ours”, a series of parallel chapters that are each other’s mirror images takes the reader to a more mysterious place, to a strictly organized “the other room”: the place where the story is not yet in progress, but only looming.
Luka Bekavac certainly emerged as the author who pushes the limits and whose works are awaited eagerly. It is also safe to say that The Curfew establishes a new set of rules in Croatian literature.
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