Domestic Violence and Social Judgment in Marina Vujčić’s Novel Sigurna kuća (Safe House)

The novel Sigurna kuća (Safe House) by Marina Vujčić was published in April 2024. It quickly attracted readers due to its powerful theme, which highlights the systemic problem of male violence against women. The novel’s popularity is illustrated by the fact that in the autumn of 2024 it was unavailable in all libraries in Zagreb for more than a month and a half, as well as in many libraries across Croatia. Its success is also reflected in the fact that it was among the more widely sold books in Croatia in 2024.

According to the author, Sigurna kuća (Safe House) is a psychological analysis of domestic violence. The story addresses questions that frequently appear on social media and in public debates: “Why didn’t she leave him?”, “How did she not notice earlier what he was like?”, or “She chose him herself, so it is her fault.”

The novel follows Lada Lončar, who ends up in prison after killing her husband in self-defence. Through retrospective narration, Lada introduces readers to life with an abuser, revealing experiences that remain invisible to outsiders but are painfully familiar to victims of domestic violence.

Narrative Structure and the Use of Second Person

The novel is structured without traditional chapters; instead, the text is divided by asterisks. This structure can slow down the reading process, yet that seems intentional: it encourages the reader to pause, reflect, and consider the weight of what has been read.

It is interesting to consider how the novel might function if it were written differently. If the story were told in the third person, the protagonist might lose some of her personal depth. If it were written in the first person, Lada would have a clearly defined narrative voice. Instead, the novel is written in the second person singular.

The use of the second person creates a powerful effect—it resembles the act of pointing a finger at someone. Throughout the novel, various characters, and even the readers themselves, seem to accuse Lada, judge her, and shift responsibility onto her – even she blames herself. This mirrors the reality she experiences: criticism and blame coming from her family, her husband, and even the system that failed to protect her. When people judge or accuse others, they often speak in the second person: “You did this,” or “You are responsible for that.” In this sense, the narrative voice extends beyond the text and echoes the accusations directed at her.

Vujčić explains that writing in the second person allows the reader access to Lada’s inner monologue. Through this narrative technique we see that Lada constantly questions her own decisions, wondering whether she could have acted differently. This reveals the guilt she feels after killing her husband, even though it was an act of self-defence.

For years she felt responsible for his anger; now she feels responsible for his death. In both situations society places the blame on her – first for provoking violence, and later for resisting it. A similar dynamic can be seen in the film Samo kad se smijem (Only When I Laugh), where the surrounding community reverses the roles of victim and aggressor. Through this comparison, the author highlights the heavy burden of social judgment that victims often carry long after the abuse has ended.

Psychological Dynamics of Abuse

In the novel, Vujčić carefully dissects the psychological profile of the abuser. Feelings of helplessness, shame, despair, uncertainty, and anxiety accompany the narrative from beginning to end. The psychological portrait of the abuser is therefore presented in a convincing and detailed way.

The novel also portrays trauma and post-traumatic stress resulting from abusive relationships. Even after her husband’s death, Lada struggles with insomnia and feels as if his presence still haunts her. This illustrates the depth of her trauma and the long-lasting effects of violence.

Through retrospective narration, the author reveals the dynamics of their marriage, including Lada’s strategies for surviving the relationship and her husband’s methods of manipulation and control. Among these techniques are love bombing in the early stages of the relationship, followed by gradual isolation from friends and family, humiliation, threats, blackmail, and domination. Through manipulation, he forces her to leave her job, while passive-aggressive behaviour pushes her to stop wearing makeup so that other men would not notice her. As Lada reflects on the past, it becomes clear that their shared home was never truly a home for her.

The theme is reflected in the words of Slavenka Drakulić, who wrote in the 1985 that “contrary to common assumptions, the family is the most aggressive social group that exists.” She also cites the American sociologist Murray Straus, who argued that apart from war, the greatest number of violent incidents occurs within families. This perspective resonates strongly with the events portrayed in Sigurna kuća (Safe House). According to Vujčić, there is ultimately no completely safe place for women like Lada: she was not safe in her own home, yet she is not truly safe in prison either. The title Sigurna kuća (Safe House) therefore carries a strong element of irony: the place that should symbolize safety becomes the very space where violence occurs.

The Representation of Perpetrator and Victim

An interesting detail is that the abusive husband remains unnamed. Readers never learn his name. In a way, this mirrors media reporting on domestic violence. News reports often omit detailed information about the perpetrator while describing the victim’s life in great detail – her behaviour, profession, hobbies, family background, and personal life.

Despite being educated and aware of the signs of abuse, Lada is surprised that she did not recognise the violence within her own relationship. She admits that she overlooked the warning signs even though she was surrounded by online content discussing domestic violence. By portraying Lada as someone familiar with these issues, the author shows how subtle and invisible abuse can be when someone is manipulated and emotionally involved.

Concluding Reflections

The narrative sometimes feels repetitive and monotonous, but this repetition seems intentional. It reflects the cyclical nature of abusive relationships, where periods of calm alternate with episodes of aggression. Reading the novel can therefore feel emotionally exhausting, not only because of its structure but also because of the heaviness of its subject matter. The reader experiences a sense of heaviness and confinement similar to what the protagonist feels.

The novel ultimately conveys that psychological violence, often invisible, is just as dangerous as physical violence. Emotional and verbal abuse, contrary to common belief, can leave deeper and longer-lasting consequences than physical violence. Victims often continue to live with fear, distrust, and a constant survival mindset, always remaining alert.

In this sense, Sigurna kuća criticises society’s and institutions’ responses to domestic violence. It challenges the frequent stigmatization of victims and the widespread misunderstanding of how abusive relationships function. The novel can therefore be read as an educational text that encourages readers to refrain from judging victims, to learn how to recognise abuse, and to develop greater empathy for those who experience it.

How do you interpret the title Safe House? Share your thoughts in the comments below.

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Sources:

Marina Vujčić, Sigurna kuća, Fraktura, 2024

Slavenka Drakulić, „Pretučena supruga,“ in: Smrtni grijesi feminizma - Ogledi o mudologiji, Fraktura, 2020

Bojan Stilin, “Najprodavanije knjige u Hrvatskoj: Crnu listu desnice smijenili Baby Lasagna i Ante Tomić,” tportal, https://www.tportal.hr/kultura/clanak/najprodavanije-knjige-u-hrvatskoj-crnu-listu-desnice-smijenili-baby-lasagna-i-ante-tomic-foto-20240717

“148. Pisci na mreži, 29. listopada (srijeda) 2025. u 17 sati: Marina Vujčić,” Aquilonis, https://www.aquilonis.hr/pisci-na-mrezi/71-poslovanje/projekti/pisci-na-mrezi/918-pisci-na-mrezi-marina-vujcic