Rajko Petrov Nogo made an unusual and loud entry into Serbian poetry in the second half of the 1960s: he announced, as it were, his arrival on the stage with a microphone. The frequent guest of many public recitals of poetry and many television shows, Nogo spoke with the hoarse, disillusioned voice of a social outcast who grew up in a provincial orphanage and was not inclined to mince his words. The time was propitious for this kind of rhetoric: 1968, with its international wave of youth protest, was at hand, and a trend of nonconformist, somewhat exhibitionist, but also self-ironic engag poetry had been on the rise in Yugoslavia, with Matija Beckovic and Branislav Petrovic its major representatives in Belgrade. Nogo belonged to the circle around the popular, semidissident Sarajevo poet Dusko Trifunovic, who liked to refer to his protegs as "the young, spiritual maniacs," destined "to rule...