Granica
The collection is one of Nešić's key books from the post-war period of the 1990s, when he faced exile, minority status, and identity fractures on the border of two worlds – Croatian and Serbian, Slavonian and Danube.
The title "Border" is a multi-layered symbol: a physical border (the Danube, the state line), a border between the past and the present, life and death, memory and oblivion, and the border of humanity in war and the post-war period. The poems are intimate, melancholic, with strong homeland motifs: the Danube as an eternal river that carries memories, the villages of Bijelo Brdo and Dalj, vineyards, houses, people who stayed or left.
Nešić writes about the minority position of Serbs in Croatia – about silence, fear, loss of language and culture, but also about resistance through poetry and memory. The verses are precise, rhythmic, with a touch of lyrical minimalism and deep sadness, but without pathos – more contemplative than accusatory. The border becomes a place of encounter and separation, where identity is sought in fragments.
The collection is part of Nešić's oeuvre dedicated to homeland, gender, and language (along with "The Window Through Which the Danube Flows", "It's Better to Be in the Minority"). It is valued in Serbian literature in Croatia as a testament to the survival of culture on the edge, with an emphasis on the silent power of words as a barrier against oblivion.
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