In his early youth, Arsenijević (nicknamed Vlajsa) played with a punk band called "Urbana Gerila" as well as its post-punk offshoot "Berliner Strasse".

The anti-war novel, which takes place during the Battle of Vukovar in autumn 1991, was one of the first works published in Serbia to discuss the violent disintegration of Yugoslavia, although from the perspective of those who lived in Belgrade at the time.

The long-awaited follow-up to In the Hold, and the second part of the envisioned tetralogy "Cloaca Maxima", novel Anđela was met with mixed criticism after it came out in Serbia in 1997.

[citation needed] As the NATO bombing of FR Yugoslavia began in March 1999, Arsenijević was in Belgrade, but got out some two months later in May through an invitation from the France-based International Parliament of Writers to visit Mexico City.

In Mexico City he resided in neighborhoods of Coyoacán and Colonia Condesa, mostly making a living through a series of menial jobs and on the side playing in a band called Los Armstrings.

What might seem as a puzzle of shattered human destinies slowly takes over the reader and carries him through an unimaginable and horrific journey to the raw consequences of the global warfare that every individual, once involved in it, never seizes to fight.

It consists of 25 fragments/stories set within one single minute of time (January 20, 2010, from 12:00 to 12:01 GMT) at 25 different spots on planet Earth such as Samoa, Hawaii, Brazil, Portugal, Kosovo, Kurdistan, Burma, Australia or Russia.

So far, he's translated Macho Sluts by Pat Califia, God's Boot by Brad Fox, The Sheltering Sky by Paul Bowles, Jonathan Livingston Seagull by Richard Bach, and A Good Man Is Hard to Find by Flannery O'Connor.

In late summer 2007, Arsenijević wrote a piece titled "Unsere Neger, unsere Gegner" (Our Negros, Our Enemies) for German daily broadsheet Die Zeit, criticizing Serbian attitude towards Albanians living in Kosovo, which he sees as historically having been based on "offensive cliches, derision, and open hatred", comparing it to way American whites treated their own negros.

Starting under the editorial stint of Ljiljana Smajlović, Arsenijević continued on at the paper when she got replaced with Dragan Bujošević in November 2008 following the May 2008 Serbian parliamentary election win by the ZES coalition led by Boris Tadić's Democratic Party (DS).

[23] Couple of days after the show was aired, Arsenijević got fired by Press due to "financial crisis", though many speculated that the real reason for his dismissal were his comments on Nedjeljom u 2.

In this period, Arsenijević also wrote for other publications: his April 2012 commentary inspired by the Eurovision Song Contest about to be held in Baku, Azerbaijan was published in German daily die Tageszeitung as a guest column.

He considers Azerbaijan and Serbia to both have "bad reputations in the international community" and views them both as being "well-known for widespread corruption that's deeply embedded in every pore of their societies".

[29] Of his Jutarnji columns, the one that garnered most attention and reaction was Arsenijević's intricately long, stinging July 2012 denouncement and condemnation of film director Emir Kusturica.

Dissatisfied with Kusturica's latest project — Ivo Andrić-inspired Kamengrad in Višegrad, Republika Srpska, Bosnia-Herzegovina, Arsenijević goes after the director, labeling him "a pompous man who, thanks to his bizarre Serbian nationalism, was able to cajolingly ingratiate himself to every ruling Serbian political figure from the 1990s onward - starting with Milošević, over to Đinđić and Koštunica, and finally Tadić, as a warm male embrace with Tomislav Nikolić surely awaits him in the near future" while describing Kusturica's previous Drvengrad project as "a monument to his own self and his own worldview with his own financial interest and personality cult installed in it, all made possible through mutual cooperation of several politicians in Serbia who couldn't agree on anything else, but nevertheless found minimum consensus over Kusturica".

And answers that Andrić "has for the umpteenth time been hijacked, misused, maltreated, humiliated, and brutally raped" before imagining Andrić "a slight, physically feeble, and restrained man without a shred of Ottoman or Balkan atavism in him, 'tender and white with a painfully-thin fragrant soul'" yielding to "Kusturica's brutal appearance featuring greasy hair, withered highland never quite cleanshaven face, neurotic wrinkle in the base of the nose, and a suspicious gaze".