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The preservation and dissemination of national memory has become? main concern of post-Euromaidan Ukraine, as it has faced (geo)political, economic, social, and cultural challenges inflicted by the ongoing military conflict in Eastern Ukraine. In response to the war, Ukraine’s state agencies and institutions began to regulate stratagems for the remembering and selective forgetting of the Soviet past. At the same time, contemporary Ukrainian writers have contributed differently to these issues, offering innovative approaches to memory as forgetting. This paper aims to conceptualize forgetting as a dominant mode in recent war narratives by Serhiy Zhadan and Volodymyr Rafieienko. Their novels, The Orphanage (2017) by Zhadan and Longitude of the Days (2017) and Mondegreen (2019) by Rafieienko, provide complex and interesting material upon which to consider the dynamics of memory and forgetting as something indispensable for Ukrainian society’s renewed identity. Both Zhadan and Rafieienko develop the tradition of Eastern Ukrainian literature. They are prominent writers and public intellectuals whose works have received national and international acclaim for their idiosyncratic style, imagination, and active civic position regarding the conflict in the Donbas. Through analysis of mnemonic poetics and narrative strategies in the novels, this article demonstrates how the authors’ protagonists, both of whom are displaced persons, engage with various modes of cultural and individual memory in order to make sense of their dislocation and become active subjects. Using the concept of “memory on the move,” as well as a phenomenological approach to memory, I show how individual memory and forgetting are mediated in texts and how aberrations, gaps, and loss of memory particularize the human experience of the war.

The essay focuses on we-discourse as a cross-generic phenomenon, broader than we-narration in prose fiction, and examines how Serhiy Zhadan's recent work constructs a “we” of the society shaken by war. Infinitive structures and impersonal imperatives of his new poems create a syntactical possibility of a collective subject position initially open to anyone. While this openness eventually fills, the poems' first-person plural nevertheless avoids reproducing the antagonistic reference of “us” versus “them,” inherent in communal ethos, and thus points to a potential for an alternative construction of solidarity.

The publication of \"The White Chalk of Days: The Contemporary Ukrainian Literature Series Anthology\" commemorates the tenth year of the Contemporary Ukrainian Literature Series. Co-sponsored by the Ukrainian Studies Program at the Harriman Institute, Columbia University and the Kennan Institute at the Woodrow Wilson International Center for Scholars, the Series has recurrently organized readings in the US for Ukraine’s leading writers since 2008. The anthology presents translations of literary works by Series guests that imaginatively engage pivotal issues in today’s Ukraine and express its tribulations and jubilations. Featuring poetry, fiction, and essays by fifteen Ukrainian writers, the anthology offers English-language readers a wide array of the most beguiling literature written in Ukraine in the past fifty years.

The armed conflict in the east of Ukraine brought about an emergence of a distinctive trend in contemporary Ukrainian poetry: the poetry of war. Directly and indirectly, the poems collected in this volume engage with the events and experiences of war, reflecting on the themes of alienation, loss, dislocation, and disability; as well as justice, heroism, courage, resilience, generosity, and forgiveness. In addressing these themes, the poems also raise questions about art, politics, citizenship, and moral responsibility. The anthology brings together some of the most compelling poetic voices from different regions of Ukraine. Young and old, female and male, somber and ironic, tragic and playful, filled with extraordinary terror and ordinary human delights, the voices recreate the human sounds of war in its tragic complexity.

Shopin features Serhiy Zhadan, an ordinary Ukrainian writer. He is a poet, prose stylist, interpreter, literary critic, public figure, and anarchist. He is a major literary figure and one of the most prominent authors in Ukraine. His works stand out from the general literary oeuvre in many ways. Most importantly, Zhadan writes about those whom one would normally discard as lumpen, the flotsam and jetsam of the Ukrainian urban community.

The poems collected in this volume engage with the events and experiences of war, reflecting on the themes of alienation, loss, dislocation, and disability; as well as justice, heroism, courage, resilience, generosity, and forgiveness. The anthology brings together some of the most compelling poetic voices from different regions of Ukraine.

This anthology presents translations of literary works by Ukraine's leading writers that imaginatively engage pivotal issues in today's Ukraine and express its tribulations and jubilations. It offers English-language readers a wide array of the most beguiling literature written in Ukraine in the past fifty years.

Havingexploded on the margins of Europe, Chornobyl marked the end of the Soviet Unionand tied the era of postmodernism in Western Europe with nuclear consciousness.The Post-Chornobyl Library becomes a metaphor of a new Ukrainian literature of the 1990s,which emerges out of the Chornobyl nuclear trauma.

The paper offers a close reading of three Ukrainian novels by Yuri Andrukhovych, Serhiy Zhadan, and Lyubko Deresh in order to demonstrate, how main elements of Western pop-culture are shifted into a different Central and East European context. As a result, it becomes clear that contemporary Ukrainian fiction uses these elements, but does by no way intend simply to imitate Western traditions of pop-culture; on the contrary, Western pop-culture in a radical way is re-shaped by the three Ukrainian writers in order to put into the foreground their own different artistic notions. In his novel Twelve Rings, Andrukhovych, for example, confronts Western consumerist culture, the former ussr, and Central Europe. Serhiy Zhadan in Depeche Mode again demonstrates the gap between Western pop-culture and the Eastern Ukraine by means of a radio-feature, which misinforms the Ukrainian listeners about the band \"Depeche Mode\" in an utmost strange way, and Lyubko Deresh in his novel Adoring the Lizard, finally, depicts the everyday live of younger people in Gali- cia, who primarily are interested in bands like \"King Crimson\" or \"Jethro Tull\" and, therefore, do not stick to the latest trends as proposed by Western pop-culture.