Gnusoba: karikatura

The plot takes place on March 12, the anniversary of the assassination of Prime Minister Zoran Đinđić – a symbol of the futile plan to bring order to "ruined Serbia", exterminating primitivism and collective depravity. The main characters are not just characters, but "abomination" itself – a metaphor for the social swamp.

Two friends, Mandarić and Masleša, wander through Belgrade cafes, leading an endless dialogue that shifts from euphoria to depression. Mandarić, torn by bipolar disorder, between fits of laughter and misery, comments on the political elite, SANU and Serbian narcissism; Masleša, a fatalist, calms him down, but by sharing a similar diagnosis: "In Serbia, no one ever dies, but they don't live in the true sense either." Đinđić appears as a joker with a subtle sense of humor, a victim of injustice that lasts forever, while death is transformed into a business – from the “worst place to die in Europe” to a paradise for the rich dying.

The themes are deeply Balkan: primitivism, bad taste, the historical layers of Serbian being, Yugonostalgia and the absurdity of post-communism. Basara dissects how “democratic Serbia” is suffocating in abomination – a mixture of xenophobia, hypocrisy and collective madness, where every utopia is just a new scale of horror.

The style is revolutionary: without paragraphs, punctuation in dialogues, mixing monologues, thoughts and hyperboles into a chaotic stream of consciousness. Black humor and irony make you laugh to tears, but leave a bitter taste of lament for the past and warnings for the future. It is as if Krleža wrote with Andrić’s sharpness – a satire that bites deeply, reminding us that the real abomination is within ourselves.