magazine for intellectuals called Javor. Two years later, he got his first tenure as a lecturer in a gymnasium in Pirot. There he met Jaša Prodanović, who helped found the Serbian independent Radical Party in 1901. At that time, Domanović joined Republikanska stranka (The Republican Party), and married Natalija Ristić. He took an active part to maintain the doctrine of republicanism during the time of the monarchy. He was threatened repeatedly not to criticize The Establishment. After nine months, he was transferred, as a punishment on request of his political rivals, to a gymnasium in Vranje. On the same count, after a year in Vranje, he was transferred to Leskovac. Following a critical speech on the position of teachers in 1898, he was dismissed from his post, along with his wife. As a response, he wrote a short story Ukidanje strasti (The Tearing of Passion). In 1899, he published two collections of short stories and his famous story Danga, perhaps an inspiration for Yevgeny Zamyatin's We. The following year, he got a well-paying, government job as a clerk in the State's Archive. In 1902, after he published Stradija, he was again dismissed from his post. In the mythical land of "Stradije" Domanović shows how police spared voters from troubling themselves to cast votes in free elections while government ministers played musical chairs. (Even at the end of the twentieth century there is nothing to add to the criticism of the mentality of slavery, of political deceit, and of the propaganda that always succeeds). Domanović started writing editorials for magazine Odjek (Echo). After the coup in 1903, Domanović returned to his post, and soon got a stipend to work on his stories. It was rumoured that the coup saved his life, since he was on a list for liquidation of the old government. In 1904, he started a magazine Stradija, that had 35 editions. The following year, he was appointed to the State Press corps. He died in 1908 of tuberculosis survived by his wife, son Zoran and daughter Danica. Short stories Domanović was among the first writers (along with Milutin Uskoković, Rastko Petrović, Bogdan Popović, Jovan Skerlić, and others) to begin to produce an independent expression of their own urban experience in their new works, and it was not long before the term "Beogradska proza"—the Belgrade prose—was adopted to refer to this trend in which the city played an important