From a leading voice in the vibrant literary scene of today's Czech Republic, a love story rooted in the atrocities of the past and tethered to fading hopes for the future Set in Czechoslovakia between the 1940s and the 1990s, Tomás Zmeskal's stimulating novel focuses on one family's tragic story of love and the unspoken. Josef meets his wife, Kveta, before the Second World War at a public lecture on Hittite culture. Kveta chooses to marry Josef over their mutual friend Hynek, but when her husband is later arrested and imprisoned for an unnamed crime, Kveta gives herself to Hynek in return for help and advice. The author explores the complexities of what is not spoken, what cannot be said, the repercussions of silence after an ordeal, the absurdity of forgotten pain, and what it is to be an outsider. In Zmeskal's tale, told not chronologically but rather as a mosaic of events, time progresses unevenly and unpredictably, as does one's understanding. The saga belongs to a particular family, but it also exposes the larger, ongoing struggle of postcommunist Eastern Europe to come to terms with suffering when catharsis is denied. Reporting from a fresh, multicultural perspective, Zmeskal makes a welcome contribution to European literature in the twenty-first century.

Set in Czechoslovakia between the 1940s and the 1990s, Tomáš Zmeškal’s stimulating novel focuses on one family’s tragic story of love and the unspoken. Josef meets his wife, Kveta, before the Second World War at a public lecture on Hittite culture. Kveta chooses to marry Josef over their mutual friend Hynek, but when her husband is later arrested and imprisoned for an unnamed crime, Kveta gives herself to Hynek in return for help and advice. The author explores the complexities of what is not spoken, what cannot be said, the repercussions of silence after an ordeal, the absurdity of forgotten pain, and what it is to be an outsider. In Zmeškal’s tale, told not chronologically but rather as a mosaic of events, time progresses unevenly and unpredictably, as does one’s understanding. The saga belongs to a particular family, but it also exposes the larger, ongoing struggle of postcommunist Eastern Europe to come to terms with suffering when catharsis is denied. Reporting from a fresh, multicultural perspective, Zmeškal makes a welcome contribution to European literature in the twenty-first century.

Discusses how the abundant Mesopotamian cuneiform text sources can be used for the study of various aspects of history: political, social, economic and gender.

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Drawing on archival sources from Czechoslovakia, Poland, East Germany, Romania and Bulgaria, Perceptions of Society in Communist Europe considers whether and to what extent communist regimes cared about popular opinion, how they obtained their information, and how it helped them implement and maintain their rule. Contrary to popular belief, communist regimes sought to legitimise their domination with minimal resort to violence in order to maintain their everyday power. This entailed a permanent negotiation process between the rulers and the ruled, with public approval of governmental policies becoming key to their success. By analysing topics such as a Stalinist musical in Czechoslovakia, workers' letters to the leadership in Romania, children's television in Poland and the figure of the secret agent in contemporary culture, as well as many more besides, Muriel Blaive and the contributors demonstrate the potential of social history to deconstruct parochial national perceptions of communism. This cutting-edge volume is a vital resource for academics, postgraduates and advanced undergraduates studying East-Central European history, Stalinism and comparative communism.

Scholars of state socialism have frequently invoked “nostalgia” to identify an uncritical longing for the utopian ambitions and lived experience of the former Eastern Bloc. However, this concept seems insufficient to describe memory cultures in the Czech Republic and other contexts in which a “retro” fascination with the past has proven compatible with a steadfast critique of the state socialist era. This innovative study locates a distinctively retro aesthetic in Czech literature, film, and other cultural forms, enriching our understanding of not only the nation’s memory culture, but also the ways in which popular culture can structure collective memory.