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This article brings spatial theory, diasporic culture, and media studies together in a cross-platform reading of Bosnian-American author Aleksandar Hemon's work. Addressing the underexamined spatial consciousness of diaspora through an engagement with both print and electronic sources, it argues that Hemon's novels and websites render diasporic space in terms of "time-geography," which represents places as loci for multiple histories of migration. Diasporic time-geography produces several perspectives (local, global, national, diasporic) on shared space, which are further compounded when Hemon's novels Nowhere Man (2002) and The Lazarus Project (2008) are read comparatively with their websites. I argue that Hemon's diversiform approach to space assumes coherence when read as a critique of nationalist spatial models. In particular, his use of text, image, and interactive web design to represent the spaces of cities such as Chicago, Sarajevo, Lviv, and others contests the spatial abstraction of the nation-state as described by Henri Lefebvre. Against this abstraction, Hemon's work understands space as a concrete social production inflected by past, present, and future population movements.