Abstract
Jáchym Topol, who is a Czech writer and poet, has several times emphasized that he does not care about his readers, especially foreign ones who get to read translated versions of his work, as it is not his job to be understood. With the rise of transnational WWII-related literature in the Czech Republic in the last two decades, I explore how his novel The Devil's Workshop has become an important work in the realm of transnational literature, despite Topol's peculiar writing style and stance towards his international readers. In my analysis, I explore Topol's writing style, the novel's socio-historical context through the concept of difficult heritage and the juxtaposition of Czech and Belarusian WWII narratives, as well as the novel's local and international reception.