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Bosnia. Separation, Cartea Românească (Polirom) Publishing House, Bucharest, 2014.


– The book marked 10 years from Vlada’s debut, but also 100 years from the Sarajevo assassination.

– The book was nominated as the best poetry book in Romania at the Young Poets’ Gala, the Observatorul Cultural Awards and the 2014 Pen Club Awards. She won the Best Poetry Book of the Year Award at the Gala Radio Romania Cultural.

– Based on the book, Ana Maria Galea performed a jazz performance together with Miruna Vlada’s readings in J’ai Bistrot, a bar in Bucharest, Târgu Mureş, and in “Club Live” in Câmpina.

– A selection of poems in the book was translated by Aida Šošić, Adisa Bašić and Ljubinka Perinac Stankov in Serbo-Croatian and published in the Bosnia online literary magazine “Strane” (2016) and in “Poezija” (2018).

– An interview about the book and her perspective on Bosnia by Adisa Bašića was published in the cultural weekly “Slobodna Bosna” (27.11.2015). In August 2016 another book interview appeared in the “Oslobodjenje” newspaper in Sarajevo.

“The poet returns with a fresh formula compared to her debut – equally raw, but with more emphasis on vulnerability and a tense resignation.

“Bosnia. Separation” is a puzzle-book. It contains texts from within and outside Bosnia, about everything a woman refuses for herself and then proceeds to internalize, after a war, after a breakup. Bosnia and Herzegovina from these poems is not the country with the same name, instead it’s a place of fear and tenderness, it’s a love letter torn in pieces. The poet finds Bosnia as a sort of adoptive country which reflects her own anxieties and internal struggles and she can rightfully say, in this book of maturity, Bosnia bin ich.”

More recently, I have observed a tendency of young Romanian poets to escape from themselves and turn their attention to the world around them. Until now, not a single one of them succeeded in creating poetry as valuable as Miruna Vlada’s Bosnia. Partage, a book which has the precision of a social investigation and the refined perception that only true poetry can create. Amid individual and collective tragedy, the breakup of a country after a war and the internal struggles after the breakup of a couple, the real history and the subjective feelings, among the several Bosnian women that the author gives voice to, in order to tell the story of their country, and the voice of the woman which analyses her own drama, somehow mysteriously, dense, strong poetry is created, which confirms Miruna Vlada as one of the poets that belong to the front line of her generation.”

(Luminita Corneanu)

„ Auden noted somewhere that there are antifascists which lead their erotic life as if they were invading Poland. In Bosnia. Partage, Miruna Vlada proceeds convergingly – she writes passionate love poems about the atrocious world in Bosnia. Her poetry is a devasted and splendid Bosnia, just as her Bosnia is a devasted and splendid Bosnia. Apart from this, it seems important to me that through this form of understanding poetry, as empathy for the marginal groups destroyed by history, Miruna Vlada finally rehabilitates the concept of political poetry in Romania.”

(Radu Vancu)

References about the book:

“First of all, the whole poetic discourse of the book, which can be interpreted as a genealogy of feminine voices that intertwine and continually grow from one another, strengthening and amplifying each other, represents an immense effort of poetic recovery of what is fundamentally irretrievable – Bosnia of massacres; Bosnia of mass crimes; Bosnia, “the tortured heart of Europe” – without pretending to explain the inexplicable or to make sense of absurdity. Being retrieved poetically, Bosnia may become some sort of home for the poet – “Bosnia bin ich!” – a place in which breakups and separation become bearable, and besides that, a place for “celebrating the divorce”.

(Paul-Gabriel Sandu in “Luceafarul de dimineață”)

“Through essential techniques – the superposition of different lyric voices to recreate a story, the collage of documents, the oscillation between lyric and epic – Colonia fabricii reminds me of Miruna Vlada’s book from last year, Bosnia. Partaj, cautiously received by some critics, yet nominated for two important literary awards (the Radio Romania Cultural Awards and the Awards of the Observator cultural magazine). I don’t know how Coloana Fabricii will be received, immediately after the first copies were printed. However, I think it is important to notice the effort of these young female poets (I would also add Adela Greceanu to the list, with her book Si cuvintele sint o provincie) to leave their comfort zone, to further push their boundaries, even if it means risking the adhesion of readers to their poetic formulae. In fact, as we know, modern poetry, from Baudelaire onwards, evolved by pushing the limits, integrating new themes, nonlyric methods of expression, opposing and rejecting the lyric while actually reinventing it.”

(Luminița Corneanu in “România literară”)

“However, this documentary field was prepared, as we find out in the second cycle, to leave room for intimate poetry: the issue of separation, divorce, is likened to the political situation in Bosnia. Thus, this “Bosnia of the heart”, as this book would tell you, is the real stake of the poems: the extrapolation of personal drama, the personal correspondent of social events. If a certain French writer was looking for stylistic precision in the Civil Code, Miruna Vlada goes even further by presenting the articles concercing the divorce, word for word. This documentation (probably meant to increase drama and the realistic effect) follows the reader during the whole book. Nonetheless, next to the pragmatic textual dimension (creating the effect of realism through documents), constant throughout the book…”

(Ștefan Baghiu in “Cultura”)

“Bosnia. Partaj contains two books within a single one. The first one, and the most consistent, is inspired by a historical tragedy, more or less known at human level, it has political tones and it is dedicated to a country and its inhabitants. The second one is an intimate and personal story of a breakup. The first one is a book of atrocities in the Bosnian civil war and ethnic tragedies, the second one is a sentimental book, of a couple that went through the confusion of sentimental separation. Political vs biographical. Public vs intimate. Rape vs breakup. Death vs sadness. The common pit vs individual life. Elegy vs lament. Two books and two different themes, but Miruna Vlada sees them as parts of the same experience and unites them in a single metaphor (…) Coming back, there are several egos in this book, which involuntarily draw a limit of sentimental geography which works at the level of empathy, of understanding the human drama. Miruna Vlada transcribed/rewrote/described testimonies, probably real, about death, and only these give life to the book”.

(Marius Chivu in “Dilema veche”)

“With such a journalistic preamble, the charge of the poems reaches the very limits. Miruna Vlada insinuates herself into that conglomerate of humiliated flesh, separates the bodies, while restoring some of their former grace,restablishes their forgotten identities and gives them a voice. There is a group of diverse voices, defeated or vengeful, and each one of them tells the story of a different symbolic abuse on distinct tonalities.

“The nexus of the book is a simple one: considering that the true drama is an erotic one, Bosnia. Partage proves there is no metaphor capable of transcribing it. No brutal image of territorial secession, no approximation of judicial jargon and no scholar observation of psychologists. The internal concussion is total, beyond the numerous varities of standard language used (as they are here), which true poetry despises authoritatively”.

(Cosmin Ciotlos in

“Because it is one of the most powerful poetry books I have read in the past few years, with a sharp message and rhetoric, as both reach the unbearable limits. Because this is what poetry is supposed to do, to cut: to cut roads, to cut into live flesh, to cut (you) from the world. Because it is a book about the game, between identity and otherness, that has interested me for the past few years, a book about “the partage” which we can all identify with in different ways, not necessarily related to love, culturally, existentially. Finally, because it is a brave book, which assumes its femininity and even succeeds in turning it into a literary quality”.

(Florina Pirjol in Bookaholic)

“Bosnia. Partaj picks up the widely-used theme of everyday grayness in the constraining reality and transposes it into an intellectual meditation about the fate of Europe; thus, it is a new type of poetry in recent literature­­, in which personal trauma (see Poemele extrauterine, the poet’s debut) is sent from one another, perhaps from generation to generation. Miruna Vlada (because now it’s her turn) knows her role and duty: «I did not come here to look for something in particular / I came here as a mourner»”.

(Dan Gulea in

“So, this poetry harnesses the city and the space as they are marked by history, that is, by human (in)action. The new artistic opening of the poet comes from the abandonment of narcissism by self-analyzes and ego-centric plundering. The poetic intensity is more authentic when it absorbs collective pain and when the individual is in accord with the individuality of the groups. Maybe in this sense we should interpret the intertext from Miroslav Antič: “You know what I’m going to do: I’ll ruin your toy / called pain,” or the one by Ljubomir Simovič: “just breathe so much / how can you suffer “. (…) All in all, this book is a great poem about crushed intimacies inside unresolved conflicts, and their evolution over time.”

(Felix Nicolau in Ziarul Financiar”)

Read poems from BOSNIA.PARTAJ

Read interviews about the book