This article concerns the issue of internationality, interculturalism and various forms of nomadism present in Bora Cosić’s Dnevnik apatrida. The first kind of writer’s nomadism (national-ethnic nomadism) is conditioned by his origin. Cosić grew up in amixed Croatian-Serbian community. He was born in 1932 in Zagreb, in a family of Croatian Serbs and when he was five years old he moved to Belgrade where he lived for the next sixty years. There is also acultural nomadism linked to Cosić’s origin, and more specifically, his cultural and literature background. The author circulates like atrue nomad between Serbian and Croatian literature and he is not firmly rooted in either of them. Cosić’s nomadic consciousness is expressed by the language. Thewriter writes in Serbian language with alot of Croatian additions and he is constantly in the process of a language ‘transit’. It may be noted that the author interchangeably uses the ekavian and ijekavian dialect in Dnevnik apatrida maintaining multilingualism to be understood not only linguistically, but also culturally. The fourth kind of nomadism, avery important one for Cosić’s creation, is an artistic-aesthetic nomadism. In his writings, the author combines various elements, uses citation and familiar themes and motifs thus leading an intercultural dialogue with other writers and their works. In Dnevnik apatrida the writer has included many quotes from In search of lost time by Marcel Proust and used them asconstantly topical comments on the socio-political situation in the former Yugoslavia. In addition, the writer’s texts are on the verge of avariety of literary genres. Cosić undertakes akind of playing with forms, conventions and other models of literary expression.