by an unnerving premonition that the world around me was about to suddenly vanish. This neurosis of imminent disappearance and discontinuity transformed me into an “archeologist of the Yugoslav everyday.” I convinced myself that if I managed to preserve in memory the name of the first Yugoslav brand of chocolate, or the name of the first Yugoslav film (hardly a stretch, I admit), I could perhaps halt the impending terror of forgetting. When Yugoslavia finally sank, my neurosis took on a name—Yugonostalgia—and a definition: political sabotage of the new Croatian state. And I received epithets, too—traitor and Yugonostalgic. Eyewitness to how brutally and efficiently the confiscators of memory could erase collective memory and with it my personal history, I became a member of my own personal resistance movement. I defended myself by remembering—remembering as weapon of choice against the violence of forgetting. As opposed to theirs, my bullets killed no one. Mine had too short a range.
NOSTALGIA—A DOUBLE-EDGED SWORD
Back then, the Internet had yet to enter mass usage. Today, every post-Yugoslav is able to satisfy his or her Yugonostalgic appetites. There are sites with everything from old Yugoslav films, video-clips, popular TV series, pop singers, advertisements, and design concepts, to the chairs we sat in, the kitchens we cooked in, the haircuts we wore, and the fashions we followed. Today, Yugonostalgic exhibitions are in vogue. One can buy everything from souvenir socks bearing Tito’s portrait and signature, to cookbooks with recipes for his favorite dishes. The theaters perform works with Yugonostalgic content; in documentaries interviewees speak freely of their Yugonostalgic impulses. Yugonostalgia, however, has lost its subversive quality, no longer a personal resistance movement but a consumer good. In the intervening time, Yugonostalgia has become a mental supermarket, a list of dead symbols, a crude memento mori stripped of emotional imagination.
Today, the bandit capitalism of transition is able to tolerate the presence of Yugoslav souvenirs in the ideological marketplace. Yugonostalgia only reinforces its position. How? Rather than being an entry point for serious research into and understanding of Yugoslav socialism, to a real and enduring settling of accounts between the old and the new, to a generator of productive memory—and possibly a better future—today’s commercialized Yugonostalgia has been transformed into the opposite, into a highly-effective strategy for conciliation and forgetting. Buying a pair of souvenir Tito-socks, the post-Yugoslav symbolically lifts a twenty-year ban, removing the stigma from his or her socialist past. Here, nostalgia has radically changed in essence, no longer a protest against forgetting, a polemic with the existing system, or longing for a former life (if it ever meant that), but unreserved acceptance of the present. Put baldly, bandit capitalism can easily afford to behave like the Russian oligarch, Mikhail Prokhorov, who rented the cruiser Aurora, a symbol of the October Revolution, and organized a party befitting the very richest of the rich—Russian oligarchs.
On the other hand, the irritation evinced when words such as Yugonostalgia, Yugoslavia, Yugoslav, socialism, and communism are spoken suggests that having become Croats, Serbs, Slovenes, or whatever, citizens of the former Yugoslavia still have some way to go in freeing themselves of their Yugoslav pasts. As a result, public figures, whether politicians, writers, or artists, inevitably tag an obligatory footnote to every mention of the word Yugonostalgia. Mentioning Yugoslavia doesn’t for a second mean that one mourns the country’s passing, let alone that of communism—God forbid! The exhibition Socialism and Modernity, which opened in late 2011 at the Museum of Contemporary Art in Zagreb, both confirms and serves to inflame an irritation that has smoldered for over two decades in Croatia and other former Yugoslav republics. Visitors to the exhibition can see the first car Yugoslavia ever produced; the first Yugoslav radio and television set; excerpts from TV shows; exemplars of fashion, furniture, architecture, and design; even a trove of old bank notes, coins, posters, and photos, but the historical context remains incredibly elusive. Yugoslavia, communism, and socialism are rarely mentioned, so one is somehow left with the impression that the modernity of the fifties and the sixties was an exclusively Croatian one, one with a dissident hue, although the nature of this dissent remains ambiguous. The exhibition’s curators seem afraid of the fact that Croatia was a Yugoslav republic at the time, that Yugoslav socialism brought modernity with it, and that the socialism and modernity of the time were an ideologically harmonious pair.
American capitalism uses nostalgia in a far more adroit, refined, and enticing manner. The Levi’s Go Forth and Go Work campaigns are examplary of how capitalism rebrands itself and thus shores up its dominant position.3 Deploying the aesthetics of devastated post-capitalist spaces (the abandoned workers’ halls of Pittsburgh and Detroit), and using amateur rather than professional models, the images in the Levi’s advertisements invoke nostalgia for erstwhile values: self-reliance, strength, honesty, work, self-respect, courage—a nostalgia for the America of the pioneers. Culled from this pioneer-America are shots of freight trains and stowaways, deserted railway tracks alongside which people trudge into an uncertain future, muscle-ripped young men bathed in sweat, scrappy bundles in hand, on their faces a visible readiness to meet life head on. Accompanying the images, phrases such as things got broken here absolve those to blame for the economic crisis of all responsibility, implying that the crisis is a kind of natural catastrophe that has afflicted everyone in equal measure. The bald exhortation we need to fix it urges people (the working class!) to spit in their palms, take matters into their own hands, and rebuild their lives—your life is your life! And, naturally, no one sets off to rebuild his or her life bare-assed. Hence the necessity of a baseline initial investment—in a pair of Levi’s.
OBERLIN, AMERICANA
Still in a daze from the change of time zone, in the morning I headed out for a walk around Oberlin. It wasn’t that there was anywhere to really go. My hotel looked out over a large park. On the opposite side of the park were the university buildings, and to my left the main street with a handful of shops, including the bookstore where in a few hours time I would be giving a reading. A modest poster taped to the inside of the window gave the date and time. The bookstore wasn’t actually just a bookstore, but a kind of general store stocking anything and everything. Feigning effort to remain incognito, I bought a useless pair of Chinese-made slippers, a waste of both money and vanity given that the sales clerk had no idea I was the person in the poster photo. Nonetheless, it was an opportunity to tip my hat to my past. The store vaguely reminded me of the old Yugoslav stores of the fifties, and so in addition to the slippers I bought a copy of my book. I felt like Allison MacKenzie, who after forty years returns to Peyton Place to buy a copy of her own book, all in the hope that the hoary bookseller might recognize her.
I began my story about Yugonostalgia in the same venue later that evening, the small audience made up of students and faculty. I think my listeners were expecting me to talk about popular conceptions of Yugonostalgia, but the morning stroll around the small town center had pulled a number of mysterious threads, and suddenly images from my childhood burst into life before me. I was born and grew up in a similar small town, minus the students and the university of course. In what passed as downtown, there was an improvised cinema in what was formerly the local hotel. My mom and I would take our places on the long wooden benches (no backrests—it was the fifties!) and watch Hollywood movies. How was it that Hollywood films were my childhood entertainment? A few years after Tito’s historic NO to Stalin, Yugoslav cinemas were flooded with Hollywood films, the best kind of ideological support. Even Tito was an avid cinephile, as was my mom, as was the little me.4 Bathing Beauty with Esther Williams was apparently the first Hollywood film to play in postwar Yugoslav theaters.
My favorite actor was Audie Murphy, an American hero who stood barely 5’ 3”, and weighed only around 110 lbs., but who killed 240 Germans in the Second World War, received 33 prizes for bravery, acted in 44 films (in which he killed Indians by the score), and in the end died in a plane crash. However briefly, for us children Audie Murphy was a kind of Yugoslav Peter Pan. The world was straightforward then. Fascists were our enemies. We crushed fascists, just like the Americans, just like Audie Murphy. To be fair, Stalin crushed fascists too, but he was our sworn enemy.
Other stars soon took Audie
