By Miha Mazzini
The all-time promoting novel from the previous Yugoslavia, this can be a hilarious, anarchic, irreverent black comedy approximately nationwide aspirations and in need of stuff you can't have, re-published within the yr that Scotland votes on independence. Egon is an amoral yet charismatic author, residing at the breadline in a grim, unnamed communist manufacturing facility city in Slovenia ahead of the break-up of the previous Yugoslavia. With little proof of his actual literary goals, he makes ends meet by means of writing trashy romances below a pseudonym. while no longer looking for intercourse with as many girls as attainable, or slagging off the literary institution, Egon is stuffed with schemes to feed his pathological desire for the ruinously pricey aftershave, Cartier pour L'Homme. round him Egon has accrued a motley workforce of associates and neighbors, each one of whom additionally has an both obsessive, inconceivable ambition. Poet is wanting to have his verse released in a leather-based certain quantity, Ibro is in love with Ajsha, a manufacturing facility lady to whom he can't utter a unmarried observe, whereas Selim is confident he'll marry Nastassja Kinski, the world-famous actress. As Egon's makes an attempt to safe extra body spray develop into ever extra degenerate, his grip on his personal id loosens. the implications are messy, as grim as they're hilarious, and allude to a kingdom present process radical switch. Crumbs is not just a ribald, soiled realist satire – a contemporary ecu vintage – but additionally a desirable and completely certain statement at the pathology of self-determination. It's e-book within the months ahead of Scotland votes on independence lends a shocking, replacement yet authoritative viewpoint at the debate.
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Extra info for Crumbs
He needs your help. ” “Are you going to keep sending in your letters to the editor? That was a piece of diabolical genius! ” Of late the newspapers’ sycophantic treatment of the governor had exceeded every precedent in the history of baseness and servility. If you believed the press, the whole city was singing the odious man’s praises; his initiatives and his commitment to their success were the sole topics of conversation. Even his militaristic side was singled out for praise, as if the city were a battleground on which the governor, a former general, was staging a victorious war.
When added to his own natural presence, the opulent suit gave Heykal undeniable cachet; he passed, even in the city’s wealthiest circles, for a young man of high rank. Though he wasn’t rich, he was also not without resources; a meager income from a small inherited plot of land was enough to let him live modestly. Nobody knew the amount of this income, and given his manners and the confidence he projected, he was usually taken to be a wealthy landowner. At thirty-two, he had yet to work; much better to make do on his meager rent than to get involved, even sporadically, with the league of bloodthirsty crooks who populated the planet.
Like his characters, Cossery rose late. He frequented literary cafés such as the Café de Flore and the Deux Magots and devoted himself to affairs of gallantry. His pose of extreme indolence concealed, as with Stevenson, a heroic industry. The House of Certain Death, in which indigent tenants await the imminent and inevitable collapse of their slum house, sets out Cossery’s principal themes. Like Baudelaire, he has neither compassion nor sympathy for the poor, only a limitless curiosity. Cossery is fascinated by the division of labor in the very pit of society.