Reviewed by: Babukić the Vagabond and His Time by Miljenko Jergović Nada Petković Miljenko Jergović Vetrogonja Babukić i njegovo doba [ Babukić the Vagabond and His Time] Zagreb, Croatia: Fraktura, 2021. 377 Pp. ISBN 978-953-358-307-5 Thirty-something years into his literary career, Miljenko Jergovic surprised his readers with something quite outside the box—a picaresque novel Babukić the Vagabond and His Time. The author himself has acknowledged that he aspired to write a book that would be different from everything he had written before, certainly more frivolous and cheerful, something that would emerge from, as he said, "the semi-darkness from which he had written thus far." The book was published in 2021, although, according to Jergović, it had been in the making since 2010. Owing to circumstances in his personal life, in which, as he pointed out, "there was no place for hilarity, the manuscript was put aside." But then, several years of political crisis, including four turbulent years of Trump and the global pandemic that hit the world in 2020—all of which appeared surreal to the writer—inspired him to create something even more surreal: Babukić's world of apocalyptic cheerfulness. Over 380 pages divided into 10 chapters, with suggestive illustrations by Ivan Stanišić—quite appropriate for the genre—we are presented with a collection of diverse short narrative forms, unified by a solid framework of novelistic structure. The second structural level of the novel, i.e., its inner ring, consists of digressions, astonishing anecdotes, and meditations, which are either individual stories or introductions to more extensive narratives. Some critics compare the main character's adventures to those of idealistic wanderers such as Schweik or Don Quixote, while [End Page 175] others see closer resemblance to the heroes of fiction films, such as Victor Navorski in Spielberg's Terminal. The main character, Babukić, is a haunted traveler, constantly on the move, randomly buzzing about without getting anywhere. He is stuck among various starting points and destinations, in a transit zone between here and there, trapped in limbo. He left his native Zagreb at the beginning of the war in the former Yugoslavia (1991) and since then, he has literally and metaphorically lived on the road. His universe consists of airports and aircraft, in-between places where people spend great amounts of time waiting and observing others, as they move frantically in all directions. Babukić remains trapped not only spatially, behind the glass of airport buildings, but also temporally, stuck in the late 1980s and early 1990s—the time when he broke away from his real life and began a new existence in a different mode. This fake cosmopolitan and polyglot, as we discover throughout the novel, is contrasted to Jergović's description of socialist elites, military aristocracy, and general decadence before the collapse of the social order. Before the war, Babukić worked as a military analyst for the Yugoslav National Army (JNA), where he built his identity, reputation, and wealth. Having made his mistress (a young married woman) pregnant, and unable to face the consequences and responsibilities, he hastily fled his city, then the country, which would soon disappear along with the JNA, an institution of which he was a member. Portrayed as a man without qualities, devoid of affinity and ambition, scruples, and empathy, at the same time a clown and a demon, Babukić is infantile and conflicted, preoccupied with rituals and averse to emotional attachments. He is a man who, though possessing little knowledge, has an opinion about everything and needs to express it, however arrogantly. He is everywhere, constantly passing by others with whom he often collides, intensively communicating in all conceivable languages, not thinking about anyone, not remembering anyone. To compensate for having given up his personal history, Babukić is an intrusive collector of other people's stories. In proleptic flashes from his new, faux-nomadic life, we read about colorful encounters with diverse people, including an airport encounter with the supposedly melancholic Mohamed Atta; about a collision with Larisa Blum, a child musical prodigy; about the surreal scene in which he finds an undocumented Bosnian guest worker talking and hiding in a sandwich; about a clinch with the...