From the assassination that triggered World War I to the ethnic warfare now sweeping Serbia, Bosnia, and Croatia, the Balkans have been the crucible of the twentieth century, the place where terrorism and genocide first became tools of policy.
This enthralling and often chilling political travelogue fully deciphers the Balkans' ancient passions and intractable hatreds for outsiders. For as Kaplan travels among the vibrantly-adorned churches and soul-destroying slums of the former Yugoslavia, Albania, Romania, Bulgaria, and Greece, he allows us to see the region's history as a time warp in which Slobodan Milosevic becomes the reincarnation of a fourteenth-century Serbian martyr; Nicolae Ceaucescu is called "Drac," or "the Devil"; and the one-time Soviet Union turns out to be a continuation of the Ottoman Empire.

How easy is it for desperate youngsters to become dangerous gangsters in a decaying society washed all over by the blood of war? Fairly easy indeed. Rane shows incidents, probably somewhat facts, that took place in Serbia of the war era. Things similar to what you see on this film could happen virtually everywhere, but this film gives a very Yugoslavian feeling to everything. Yugo style mafia, Yugo style murder, and all that. Revolting politicians and their greed are to blame, not only the desperate young men who lose their reasoning while trying to be someone. The film and the casting is overall successful, and it's so very Serbian. I recommend it to anyone who.. well anyone who likes a good film. But don't expect anything American style on this one, as I say it's Yugo to the bone.

Spomenik’ the Serbo-Croat/Slovenian word for ‘monument’ – refers to a series of memorials built in Tito’s Republic of Yugoslavia from the 1960s-1990s, marking the horror of the occupation and the defeat of Axis forces during World War II. Hundreds were built across the country, from coastal resorts to remote mountains. Through these imaginative forms of concrete and steel, a classless, forward–looking, socialist society, free of ethnic tensions, was envisaged.
Instead of looking to the ideologically aligned Soviet Union for artistic inspiration, Tito turned to the west and works of abstract expressionism and minimalism. As a result, Yugoslavia was able to develop its own distinct identity through these brutal monuments, which were used as political tools to articulate Tito’s personal vision of a new tomorrow. Today, following the breakup of the country and the subsequent Yugoslav Wars of the 1990s, some have been destroyed or abandoned. Many have suffered the consequences of ethnic tensions – once viewed as symbols of hope they are now the focus of resentment and anger.
This book brings together the largest collection of spomeniks published to date. Each has been extensively photographed and researched by the author, to make this book the most comprehensive survey of this obscure and fascinating architectural phenomenon.
A fold-out map on the reverse of the dust jacket shows the exact location of each spomenik using GPS coordinates.