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The collection Silent Houses, Goran Glamuzina's literary debut, includes six stories connected by characters in different identity and existential transitional states.
Behind the walls of these silent stories, characterized by polished, supple and harmonious sentences enriched with unexpected and refreshing metaphors, we find various aberrant interpersonal constellations that destroy and reconstruct the complex and problematic concept of family or close relationships in general. Without overly strong gestures or the need for effects, these stories unfold slowly, creating an atmosphere and intensifying tension that never, not even when the light suddenly turns on in the dark, as in the children's game in the title story, ends with a clear or predictable resolution, nor is the author's intention to convince us that one is possible. The openness of Silent Houses therefore perhaps also points to the darkness within ourselves for which there is no switch or unambiguous answer, but there is a need to listen to it and examine it, to give it shape.
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