Hasan Blásim Knihy

Hassan Blásim sa narodil v roku 1973 v Iraku, kde študoval na Akadémii filmových umení. Potom ako bol niekoľkokrát uväznený, mu v roku 1998 jeho profesori poradili, aby odišiel z Bagdadu. Jeho politicky angažované a voči režimu kritické filmy vyvolali pozornosť irackých tajných služieb. Najprv utiekol do Sulejmaníje, kde sa pri natáčaní filmu Zranená kamera v kurdskej oblasti v severnom Iraku dostal do problémov. Potom niekoľko rokov cestoval ilegálne po Európe, až kým sa nakoniec usadil vo Fínsku. Jeho poviedkový debut Blázon z Námestia slobody (2009) bol v roku 2010 navrhnutý na ocenenie Independent Foreign Fiction Prize. To však nakoniec získal až za druhú zbierku poviedok Iracký Kristus v roku 2014. Bolo to prvýkrát v histórii, čo ocenenie získal arabský autor. Dielo Hassana Blásima je preložené do dvadsiatich jazykov napriek tomu, že v niektorých arabských krajinách je zakázaným autorom.Brilantné a znepokojujúce... divoké a nezabudnuteľné. Wall Street JournalOdvážne a ukrutné. The Huffington PostNočná mora násilia a teroru. Guernica Magazine.

This collection of stories explores the chaos of post-invasion Baghdad. A soldier with the ability to predict the future finds himself blackmailed by a suicide bomber into swapping places. A composer of crossword puzzles survives a car-bomb, only to find himself haunted by the spirit of one of it's victims. A victim of looting flees armed robbers but falls into a deep hole, at the bottom of which sits a djinn, and the corpse of a Russian soldier from a completely different war.

First published in Arabic by al-Mutawassit, Milan, 2018.

A blistering debut that does for the Iraqi perspective on the wars in Iraq and Afghanistan what Phil Klay’s Redeployment does for the American perspective “[A] wonderful collection.” —George Saunders, The New York Times Book Review The first major literary work about the Iraq War from an Iraqi perspective—by an explosive new voice hailed as “perhaps the best writer of Arabic fiction alive” (The Guardian)—The Corpse Exhibition shows us the war as we have never seen it before. Here is a world not only of soldiers and assassins, hostages and car bombers, refugees and terrorists, but also of madmen and prophets, angels and djinni, sorcerers and spirits. Blending shocking realism with flights of fantasy, The Corpse Exhibition offers us a pageant of horrors, as haunting as the photos of Abu Ghraib and as difficult to look away from, but shot through with a gallows humor that yields an unflinching comedy of the macabre. Gripping and hallucinatory, this is a new kind of storytelling forged in the crucible of war.