{'fraction_non_alphanumeric': 0.034692920768870136, 'fraction_numerical': 0.02531645569620253, 'mean_word_length': 5.097142857142857, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Irena Vrkljan's Autobiographical Prose between Zagreb and Berlin: (A Critique of a Monolingual Germanistik)

Irena Vrkljan cites Frantisek Halas, the twentieth-century Czech poet (1901–1949), to head one of the chapters in Marina, im Gegenlicht, a semi-autobiographical novel that combines reflections on her own life story with that of the Russian poet Marina Tsvetayeva (1982–1941). Like Tsvetayeva, with whose itinerant life she expresses an affinity, Vrkljan has lived between cultures, in her case between Croatia and Germany, in a liminal space she associates with a kind of “Nowhere.” Born in Belgrade in 1930, she moved with her family to Zagreb in 1941 when the Germans occupied the city. Raised bilingual (her parents had ties to Austria), she refers to “das Blut zwischen zwei Sprachen” (Tochter 6), evoking the fraught political ties between Germany and Croatia during the Second World War (when the latter was a Nazi puppet state) and in the years immediately following, when Tito and the partisans came to power and her father forbade the family to speak German in the home, although the child could hardly comprehend why. Vrkljan went on to study archaeology and Germanistik in Zagreb, and in 1966 she chose to move to Berlin, where she studied at the Film and Television Academy, graduating in 1969. Since that time she has lived half the year in Berlin and the other half in Zagreb. Her earlier writings include several German radio plays, co-authored with her husband, Benno Meyer-Wehlack.1 She has also composed both poetry and prose in German, although the bulk of her work, especially the poetry and, more recently, the detective fiction, has appeared solely in Croatian. Of her autobiographical novels, two were originally written in German and the others in Croatian, although she herself is the sole author of the translations (or, more correctly, reworkings). This autobiographical series is comprised of Tochter zwischen Sud und West (1982, rewritten in Croatian in 1984), Marina, im Gegenlicht (1985, rewritten in German in 1988), Schattenberlin: Aufzeichnungnen einer Fremden (1988, rewritten in German in