Croatian Writer Monika Herceg Explores Marginalized Lives in Debut Novel and Film

Monika Herceg, already recognized for her poetry, short stories, and plays, has expanded her creative horizons in 2026, venturing into filmmaking and novel writing. Her debut novel, 'Ovdje počinje šuma' (Here the Forest Begins), published by Fraktura, and her first film, the short documentary 'Joso,' delve into the lives of those on the margins.

'Joso' specifically tells the story of her neighbor, portraying "life on the margins, about poverty that is a real and constant state in the villages of Banija, about loneliness and villages that are disappearing." Herceg approaches different artistic formats with a focus on the narrative itself, believing that each story demands its own unique language and method of storytelling. She also directs radio dramas, integrating insights from psychology, philosophy, and science into her creative process.

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I don't think so much about the differences in formats, but rather try to look at the story, and every story requires its own language, its own way of storytelling.

Herceg notes a recognizable poetic style in both her novel and film. She describes her approach to prose, particularly short stories, as one she has cultivated over years, emphasizing meticulous attention to detail. For Herceg, the challenge lies in disrupting conventional narrative forms and finding the precise language, structure, and form for each story.

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The most important things happen when we question established rules.

Drawing inspiration from Ursula K. Le Guin's essay "The Carrier Bag Theory of Fiction," Herceg critiques traditional narratives that center on the hunter, conqueror, and victor. She advocates for shifting perspectives to include the stories of women, children, and those involved in sustenance, caregiving, and memory-keeping, whose experiences are often relegated to the background. Herceg's novel, in this sense, acts as a "container" for these often-overlooked narratives, exploring the realities of war through the lens of domestic concerns and survival.

The language of her novel is intentionally simple, with short, rhythmic, and sometimes stark sentences that mirror the lives and people it depicts. Herceg also highlights her work with a child's perspective and the unreliability of memory, a process that involved careful refinement of both viewpoint and language to remain faithful to the limited scope of a child's experience.

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The language of the novel is simple, sentences are short, rhythmic, and even rough – like the life and people it describes.