A young Englishman comes to postwar Bosnia, which lingers between "a preserve and a colony," to work on the implementation of Western principles and policies. Travel to another country and meeting with a new culture, as we have seen in E. M. Forster's Passage to India and Room with a View, rarely goes without at least a slight transformation of the newcomer. The young and nameless Englishman is no exception. The Englishman's e-mails to his male lover back in England unfold before our eyes, showing us the rigidity, stereotypes, and ideology in which we are all immersed when trying to understand the Other. (...) The meeting of the Orient with the Occident serves as a good source for all sorts of humorous situations, misunderstandings, and witticisms, with which Velickovic's book abounds. Yet what Velickovic seems to be concentrating on most is showing us how the encounter with the new culture is always a meeting with the Other, something inevitably inferior, lower than the subject itself. Sahib, at times, becomes a Swiftian satire, having as its main target the colonizing policies behind the rhetoric of liberating and democratizing nations. However, Velickovic is far from idealizing the state of affairs in prewar Bosnia. His satire is also directed at the contradictions and shortcomings of the previous socialist and communist regimes. What foreign organizations in Bosnia seem to be mostly preoccupied with is finding techniques to dissuade young people from immigrating to Western countries, or, in other words, preventing the "weeds" from Bosnia from implementing themselves on Western soil. (...) Velickovic's book leaves us guessing what good comes out of today's mingling of the nations and what great migrations of populations bring when our efforts to perceive and experience foreign culture as anything besides simply the Other are hindered and thwarted in advance by the limits of our own subjectivity. In an age "when dollars can shut up every mouth," even bitter satire does not have the effect it once had. (Ana Lucic, The Review of Contemporary Fiction)