Aleksandar Hemon (Serbian Cyrillic: Александар Xeмoн; born September 9, 1964) is a Bosnian-American author, essayist, critic, television writer, and screenwriter. He is best known for the novels Nowhere Man (2002) and The Lazarus Project (2008).
Aleksandar Hemon (Serbian Cyrillic: Александар Xeмoн; born September 9, 1964) is a Bosnian-American author, essayist, critic, television writer, and screenwriter. He is best known for the novels Nowhere Man (2002) and The Lazarus Project (2008).
He frequently publishes in The New Yorker and has as a consequence written for Esquire, The Paris Review, the Op-Ed page of The New York Times, and the Sarajevo magazine BH Dani.
Hemon graduated from the University of Sarajevo and was a published writer in former Yugoslavia by the times he was 26.
Since 1992 he has lived in the United States, where he found himself as a tourist and became ashore at the outbreak of the proceedings in Bosnia. In the U.S. he worked as a Greenpeace canvasser, sandwich assembly-line worker, bike messenger, graduate student in English literature, bookstore salesperson, and ESL teacher.
He is the winner of a MacArthur Foundation grant.
He published his first financial credit in English, “The Life and Work of Alphonse Kauders” in Triquarterly in 1995, followed by “The Sorge Spy Ring,” also in Triquarterly in 1996, “A Coin” in Chicago Review in 1997, “Islands” in Ploughshares in 1998, and eventually “Blind Jozef Pronek” in The New Yorker in 1999. His enactment also eventually appeared in Esquire, The Paris Review, Best American Short Stories, and elsewhere. Hemon after that has a bi-weekly column, written and published in Bosnian, called “Hemonwood” in the Sarajevo-based magazine, BH Dani (BH Days).
Hemon is currently a professor of creative writing at Princeton University, where he lives gone his second wife, Teri Boyd, and their daughters Ella and Esther. The couple’s second child, 1-year-old daughter Isabel, died of complications joined with a brain tumor in November 2010. Hemon published an essay, “The Aquarium,” about Isabel’s death in the June 13/20, 2011 business of The New Yorker.