Introduction

Hansen’s children really do exist, but in a world much softened by the impact of the Romanian revolution: the small hamlet of Tichilesti in the Danube Delta. There, Vasile prunes his vines with fingers that feel almost nothing, but he remembers well what his legless father, calling to him from the edge of the vineyard, taught him when he was twelve years old. Vasile's vines and wines help the inmates of Europe's last lepers' colony stay sane – alongside the medication that doctors and nurses administer to them daily. Across the valley, Ioana is well into her 80s, and chops the grass to feed her hens with a little blunt axe gripped between the two stumps of wrists where her hands once were. She calls each of her hens by name; there is even one called Scumpa (‘the limper’). Ioana's simple pleasures, when I last visited in springtime, consisted of watching her tomato plants grow, each in its little yoghurt pot, and looking forward to nursing them to fruit in her little garden. ‘Everyone praises them,’ she told me, ‘as the sweetest in the whole colony!’

Further down the valley, Costica is now completely blind. (Leprosy affects each of its victims in a different way.) His good eye exploded, he tells me matter-of-factly, during the 1989 revolution, and he humorously even suggests a link: so much was blowing up at that time, he seems to be saying, so why not his remaining eye as well? The radio next to his couch keeps him in touch with the outside world – more than that, it is his companion day and night, preventing him from sinking into total oblivion.

Ognjen Spahić lifts the leprosarium – gently but firmly, and with a poet's sensitivity to ugliness as well as beauty – out of the present, placing it back in the nightmare world of Ceausescu's Romania only a few months before the Revolution that would change everything forever. In doing so, he transforms the lepers and their affliction into an allegory for the outcasts, the aliens, the afflicted throughout time. Leprosy might be AIDS, it might be the Black Death, or it might simply be what makes any minority different from – and hated by – the majority. But his is not a romantic view of an accursed group worthy of our respect. Rather, it is a nightmarish vision of the depths to which a community can sink when its members turn on one another. As such, it echoes William Golding'sLord of the Flies – but in this case, it is a grown-up world where all outside constraints are relaxed, not one of children.

Spahić's bloodbath mirrors another: that of the Romanian revolution, and by extension, that of the French revolution or the Russian revolution. However, as a Montenegrin and a former inmate of the great leprosarium of Yugoslavia, Spahić's allegory – and his nightmare – venture much deeper. As a young author growing up in a country literally tearing itself apart limb from limb, he turns his imagination loose upon an east Balkan leprosarium to produce a Frankenstein worthy of the Kosovan war, the Macedonian or the Croatian, or (God forbid) even of the Bosnian war. But he has still not finished. The survivors of his leprosarium – all two of them – travel upriv