18 May 2016
Personal is Political: Eurovision 2016 and the Crimean Tatars
When Crimean Tatar singer Jamala won Eurovision 2016 for Ukraine this weekend with a song about her people’s tragedy, she was following a tradition of telling the Crimean Tatar experience of exile through verse and story.
Jamala at a "meet & greet" appearance during the Eurovision Song Contest 2016 in Stockholm (From Wikimedia Commons. Photo by Albin Olsson License: CC BY-SA 4.0 )
Here is an earlier example:
Hey, swallow, swallow! Spread your wings wide!
If you get caught by the enemy on the ground,
You may be deprived of a homeland, like the Tatar!
....
Sorrowful people, great people! People with stunted lungs!
I was born amidst you, I am one of you. I am a weed in your garden,
I am a weed in your garden.
(From Kollar Demir, Bas Emen, Budapest, 1919)
The author, Bekir Çobanzade (1893-1937), was a Crimean Tatar linguist and academic who studied and taught in Crimea, Turkey, Hungary and Azerbaijan. His poems and stories express a lyrical, personal grief at the fate of the Muslim Turkic Crimean Tatars, the indigenous people of Crimea. Under repressive Russian Imperial rule thousands emigrated to seek better lives. Soviet authorities, after a brief period of supporting national minorities, completed the exodus by forcibly deporting the entire nation in 1944 – the subject of Jamala’s winning song.
Photograph of Çobanzade, first published in his poetry collection Boran (1928) From: D.P. Ursu. Bekir Choban-Zade (Simferopol, 2013), YF.2015.a.1408
Çobanzade did not live to see this final atrocity, which wiped out an estimated 46 percent of his nation. In 1937 he was executed for separatism, involvement in terrorism, and working as a foreign agent. He was rehabilitated in the 1950s.
The lyrics to Jamala’s song ‘1944’ begin:
When strangers are coming...
They come to your house,
They kill you all
and say,
We’re not guilty […]
Yaşlığıma toyalmadım
Men bu yerde yaşalmadım
[I could not spend my youth there/ Because you took away my land]
In the light of Eurovision rules that songs be apolitical, Jamala has said the song is not political but personal, telling the story of her grandmother who was deported. Every Crimean Tatar family living in Crimea at that time has this same story. When I was researching Dream Land (2008), my novel about the deportation and return home of Crimean Tatars almost fifty years later, I heard it again and again. I was fortunate to be able to interview many people who remembered the deportation, and Crimea before it – a land of roses and sunshine, but also of war and state-sponsored cruelty.
This generation is fast disappearing: one story recounted in Dream Land, of Seit-Amet who fought in the Russo-Japanese war and the First World War in place of his two brothers, was told to me by Seit-Amet’s son before he died in 2011. But the stories are passed on to those who were born in exile, or back in Crimea after Perestroika which allowed them to return. I was struck by the incredible vividness of this collective memory; often younger generations can recite their parents’ or grandparents’ experience as if they had lived through it themselves. Greta Uehling explores this phenomenon in her 2004 book Beyond Memory: The Crimean Tatars’ Deportation and Return.
The deportation, or Sürgünlik, was a nation-defining event. People were sent away on the basis of their national identity which the Soviet authorities then tried to obliterate, claiming that there was no such national group as the Crimean Tatars. During exile much Crimean Tatar culture and language was lost, but at the same time a campaigning National Movement was born, uniting a whole generation which defined itself by the determination to return to a lost homeland – and therefore, in opposition to Soviet authorities. Thus, while for every Crimean Tatar the deportation is a personal family story, it is also political, and the shared memory of this event informs current Crimean Tatar opposition to Russian annexation of Crimea.
Death Train-2. Painting by Rustem Eminov (From http://hro.rightsinrussia.info/archive/ukraine/crimea/crimean-tatars)
On 18 May 1944, when the bewildered Crimean Tatars – the majority women and children, as the men were fighting in the Red Army – asked the Soviet soldiers why they were forcing families from their homes, they reportedly replied “It’s not our fault – it’s Stalin’s orders.” The 2008 book and BBC series World War Two: Behind Closed Doors by Laurence Rees includes interviews with some soldiers who participated in wartime Soviet atrocities, including the deportation of the Crimean Tatars. Many repeat that they were just following orders. “I understand that it was cruel because I’m more experienced now,” says one now elderly man. “Now, we have democracy.” The implication is that they had no choice in or awareness of what they were doing, and thus what happened was not personal. It was political.
Writing in times of upheaval and repression reminiscent of Crimea today, Bekir Çobanzade’s ambitions for his works are touchingly modest. In a 1919 preface to a collection of poems unpublished in his lifetime he wrote “If history turns its attention to Crimea someday, and if one Crimean Tatar searches for another, my writings may surface. It is quite all right, if this does not happen. Crimean Tatars lost their flag, their glory, and their land. What if I were to lose a few nights without sleep and days in grief …”
Thanks to Russian annexation, history has indeed turned its attention to Crimea. And a Eurovision song is the unlikely vehicle whereby an international audience encounters the Crimean Tatar story, culture and threatened language which Çobanzade wrote “embodies my people's centuries-long sorrow, their anxious and yet brave voice.”
Lily Hyde, writer and journalist
References
Lily Hyde, Dream Land. (London, 2008) YK.2009.a.30188
Greta Uehling, Beyond Memory: The Crimean Tatars’ Deportation and Return. (Basingstoke, 2004) YC.2006.a.8885
Laurence Rees, World War II: Behind Closed Doors; Stalin, the Nazis, and the West. (London, 2008) YK.2009.a.30180
Ismail Otar, Bekir Sidki Çobanzade: Kirimli Türk Sair ve Bilgini. (Istanbul, 1999) ITA.2000.a.608 (English translations from the International Committee for Crimea. http://www.iccrimea.org/literature/cobanzade.html)
28 April 2016
The Trebnyk (1646) of the Metropolitan Petro Mohyla and its artistic design
This year marks the 370th anniversary of the famous Trebnyk (Euchologion), created by the prominent reformer, Petro Mohyla and his associates, and published in the printing house of the Kyiv Monastery of Caves (Lavra).
In the first part of the 17th-century book printing flourished in Ruthenia (now Ukraine), then part of the Polish-Lithuanian Commonwealth. Skilfully produced books from the Ukrainian printing houses were in great demand at home and abroad, in Muscovy, Bulgaria, Moldova, Wallachia and Montenegro. The printing-house of the Monastery of the Caves played a leading role in this. Founded in 1606-1615 by Archimandrite Elesei Pletenets'kyi, it worked intensively in the 1620s-1640s under the new Archimandrite Petro Mohyla, who introduced systematic printing in Polish and Latin as well as Cyrillic.
Metropolitan Petro Mohyla (1596-1647) on Stamp of Ukraine (from Wikimedia Commons)
Mohyla studied in the school of the Lviv Dormition Brotherhood and then in the universities of Western Europe. After his appointment as Archimandrite of the Monastery of the Caves (in 1627) and Metropolitan (in 1632), in his own words, he promised to God to use his family’s wealth and the church income for the repair and reconstruction of vandalized churches for founding schools in Kyiv (the future Kyiv-Mohyla Academy), and for the spiritual enlightenment and education of the Ukrainian people. One of the great liturgical needs of the Ukrainian Orthodox church at this time was an authorised edition of the sacraments, known as the Trebnyk or Euchologion.
Title page of Ev̇khologīōn albo Molitvoslovʺ ili Trebnikʺ (Kiev, 1646). RB.23.c.594
According to Arkadii Zhukovs'kyi, in the preparation of the Trebnyk Mohyla and his associates used the Greek and Church Slavonic manuscript Euchologia, and also the Roman Catholic Euchologion – Rituale Romanum Pauli V Pontificis Maximi. Some parts of Mohyla’s Trebnyk were discussed and approved at the Kyiv Church Council of 1640. The book includes three main parts. The first contains the seven main sacraments and some minor ones; the second includes rites for consecration, and the third prayers for different occasions. In Fedir Titov’s opinion the sacrament of marriage was definitely prepared by Mohyla himself. It was originally published in the printing house of the Monastery of Caves under the title Mowa duchowna (1645) and dedicated to the marriage of Janusz Radziwiłł and Maria, the daughter of the Hospodar Vasile Lupu, celebrated by Mohyla in Iaşi in 1645.
Mohyla delegated the artistic design of the Trebnyk to his close associate, the monk Ilia, well-educated, gifted and the most prolific engraver in Ukraine at this time. Ilia was originally a monk in the Monastery of St Onuphrius in L'viv and from 1639-1640 worked in the Monastery of the Caves. In 1641-1642 he also spent time in the printing-house of the Trei Ierarhi monastery in Iaşi, founded with Mohyla’s help.
The earliest date on Ilia’s engravings is 1637, the latest 1663. At the beginning of his career the artist signed himself Ilia ANAKZNOZ [sic], from the Greek ‘anaksios’ (‘unworthy’). Later he probably took the highest monastic vows (skhema), which is why from 1651 С, СХ or СК (abbreviations for ‘skhymnyk’) appeared next to his name.
The construction and artistic design of the Trebnyk are subordinated to the concept of the book as a whole. Special attention was paid to the border of the title-page, a masterpiece of Ukrainian Baroque art, which forms an exact summary of the book’s contents. The sides of the woodcut are filled with miniature scenes. At the top is the Crucifixion, where blood from Christ’s wounds flows down to seven medallions depicting the Sacraments. Between them are twelve smaller ovals with pictures of the Passion. Christ’s passion and death will expiate original sin; his blood sanctifies the sacraments. The border is very closely engraved. Ilia leaves hardly any empty space, surrounding miniature scenes with delicate background ornament. He makes use of various methods of cutting the surface of the block to achieve a decorative richness. At the foot of the block on the plant leaves is the engraver’s signature in Latin: ‘Helias.a+Rok+16+46+Oktob+7’.
Discussing the publications of Mohyla’s period, Titov noted that previous engravers of the Monastery of the Caves printing-house, probably supervised by the Archimandrites, followed their own iconographic patterns, but later appear to have an obvious attraction to Western European sources. A clear example of this tendency is Ilia’s full-page illustration of the Crucifixion (1644), which has no analogies in earlier Ukrainian art. Its iconographic programme follows the patterns of Italian Renaissance painting where branches supporting flowers with circular scenes in their centres spread from the cross with the crucified Christ. In the spaces between them, however, Ilia used traditional floral motifs, very similar to those of native folk art, creating a fine example of 17th-century Ukrainian engraving.
At the beginning of each of the seven main Sacraments there is a detailed half-page illustration. Some of them, like the Eucharist (above), resemble the parts of an ornate Baroque iconostasis, with flamboyant woodcuts surrounding the circular images of traditional iconographic patterns. Others like the Funeral (below), initially created by Ilia, present a story developing in time, with a funeral procession, where some people are dressed in rich contemporary clothes, starting in the town and concluding outside the walls with the lowering of the coffin into the grave. A striking impression is made by a naked footless beggar asking for charity and the group of weeping women in the cemetery.
The Trebnyk was the culmination of Mohyla’s printing programme; he died two weeks after its completion. His sudden death, and the war which soon erupted in Ukraine, affected the work of the Monastery of the Caves printing-house for a long time.
Dr Oksana Yurchyshyn-Smith, former curator of the National Museum in Lviv
References/further reading:
S. Golubev. Kievskii mitropolit Petr Mogila i ego spodvizhniki. Vls 1, 2. (Kiev, 1883, 1898).
Epyskop Syl'vestr, Lubens'kyi ta Myrhorods'kyi (Prof. S. Haevs'kyi). Zapovit mytropolyta Petra Mohyly (1647). (Na chuzhyni, 1947).
Lohvyn, H.N. Po Ukraini. (Kyiv, 1968). X.429/3575.
Trebnyk Petra Mohyly. Perevydannia z oryhinalu, shcho poiavyvsia u drukarni Kyevo-Pechers'koi Lavry 16 hrudnia 1646 roku. Uporiadkuvav Arkadii Zhukovs'kyi. (Canberra, Munich and Paris, 1988).
Oksana Yurchyshyn-Smith. ‘The monk Ilia – illustrator of seventeenth-century Ukrainian and Romanian books.’ Solanus, 1999, vol. 13, pp. 25-43. 2716.a.2.
Fedor Ivanovich Titov. Tipografija Kievo-Pečerskoj Lavry = Die Druckerei des Kiever Höhlenklosters. Als Reprint eingeleitet und herausgegeben von Martin Erdmann und Walter Kroll. (Cologne, 2000-). ZA.9.a.11845(15).
26 April 2016
The Post-Chernobyl Library
The Chernobyl disaster wasn’t just an unprecedented environmental disaster: it was an event that caused profound political and cultural shifts on a global scale. The disaster foreshadowed and accelerated the collapse of the Soviet Union and the Cold War order, and the political reverberations of this were felt the world over. Yet it also forced a rethink of human beings’ relationship with the natural world, and compelling societies to face up to the fact that a nuclear apocalypse was no longer the stuff of science fiction, but a reality that was perilously close.
For all of these reasons, the name Chernobyl – or to use more accurately its Ukrainian form Chornobyl – is a worldwide symbol of the disastrous climax of Western modernity. The Chornobyl Zone continues to function as a phantom, warning humanity of the dangers inherent in blind technological advancement, with endless images or drone films of the ghost town of Prypiat affording internet users the vicarious thrill of wandering a post-apocalyptic landscape. Western horror movies and video games take the Zone as their setting. Yet the real Chornobyl, the real Zone, with its real abandoned villages and its real locals – those displaced and those who stubbornly return – is less often the subject of Western reflection.
To understand Chornobyl at ground level, one needs to turn to those who know these territories intimately. Voices from Ukraine, the country where the Chornobyl disaster occurred, are crucial to our understanding of the event. The distinguished poet and former dissident Lina Kostenko, for example, has dedicated a whole series of poems to the disaster, and also discusses it in her only novel, Zapysky ukrainskoho samashedshoho (‘Notes of a Ukrainian Madman’, Kyiv, 2010; YF.2011.a.18275). Kostenko was born in 1936 not far from Chornobyl, and worked in the Zone after the disaster as part of an expedition to help preserve cultural heritage. Her earliest poems on the subject were published in its immediate aftermath, though she has continued to return to the disaster in later work.
Lina Kostenko near the Chornobyl Nuclear Plant (From Encyclopedia of Ukraine)
The poems provide a detailed description of the environment of the Zone, the animals and plants that thrive there, the abandoned villages with their traditional houses and wickerwork fences, and the forests, where ancient Slavic gods still sleep in the trees; yet they are also soaked in an atmosphere of silent, invisible dread: the morning dew becomes ‘deathly sweat on the grass’, a willow bending over a river is actually a sleeping devil, while in the poem ‘Chornobyl-2’, the abandoned reactor looms over the forest like a ‘phantom, a skeleton’, ‘the emperor of all anti-nature’ whose ‘antennae moan in the winds’. The catastrophe-devil scrawls obscenity on the windows of empty houses, and shatters the icons that hang on the walls.
House in a village near Pripyat, abandoned after Chornobyl accident (Photo by Slawojar, From Wikimedia Commons CC BY-SA 3.0)
Elsewhere, Kostenko notes in relation to post-Chornobyl Europe that ‘Scheherazade’s tales run dry/Lorelei sings by the Rhine no more’. There is something about Chornobyl, its scale and significance, that destroys more than just the material or natural world: it also destroys our ability to understand and tell stories. This sense of a post-catastrophic culture is widespread across the post-Soviet world, and is particular acute in Ukraine. Tamara Hundorova, one of Ukraine’s leading literary and cultural critics, notes that Chornobyl not only ‘undermined belief in socialist modernization, which for more than half a century had manifested itself through the excessive physical and mental exploitation of human beings’, but also exploded previous cultural practices. In her book Pisliachornobylska biblioteka (‘The Post-Chornobyl Library’, Kyiv, 2005; revised edition 2013), one of the best works of cultural criticism to emerge form the post-Soviet world, Hundorova argues that the experience of being at the epicentre of the implosion of not just Soviet but also wider modernity, meant that representing the world would never be the same for Ukrainian writers. Traditional representational strategies are discredited, and the postmodern, in a distinctly post-catastrophic version, enters into Ukrainian culture.
Cover of Tamara Hundorova’s book Pisliachornobylska biblioteka (Kyiv, 2005) YF.2005.a.17624
It is no coincidence, for Hundorova, that it is precisely around 1986 that a trio of postmodernist performance poets, collectively known as the ‘Bu-Ba-Bu’, formed itself in L’viv, and revolutionized Ukrainian poetry with its irony, obscenity, burlesque humour and total disrespect for both official Soviet culture and the staid nationalist discourse that opposed it. It was at this time that a young Oksana Zabuzhko, today one of Ukraine’s leading novelists and public intellectuals, started her ground-breaking explorations of the intersections of culture, language, gender and sexuality, while the formal and philosophical experiments of prose writers like Iurii Izdryk, Taras Prokhasko and Serhii Zhadan that appeared in the 1990s shatter all previous conceptions of what Ukrainian literature could and should be. While these writers may not all write about Chornobyl explicitly, the shattering of existing social, political and cultural preconceptions that it entailed can be felt in every word.
In a poem from 1987, Lina Kostenko uses the phrase ‘a terrible kaleidoscope’ to refer to a world of disparate yet and interconnected calamities; but it also feels appropriate for the fevered explosion of cultural diversity and energy that was released in Ukraine in the late 1980s and early 1990s, which Hundorova so expertly describes.
Chornobyl is not, then, just a geopolitical and environmental event. It is a cultural one. For anyone wishing to understand the cultural impact of witnessing such trauma up close, Ukrainian culture, as seen through Kostenko’s and Hundorova’s lenses, is an instructive place to start, demonstrating how catastrophe can represent both irreparable destruction and the impetus for radical cultural reconfiguration.
Uilleam Blacker, Lecturer in Comparative Eastern European Culture, School of Slavonic and East European Studies, University College London.
24 April 2016
Vera Rich In Memoriam (1936-2009)
On April 24 2016 Vera Rich would have been 80. Everybody who knew this remarkable woman, seen often in the British Library’s Reading Rooms or on the Piazza, still can’t believe that she is no longer amongst us. I was particularly struck by the obituary in Index On Censorship written by Judith Vidal-Hall, stating the facts, obvious to all who met her:
Vera (born Faith Elizabeth) Rich, who died at home on 20 December 2009, was, quite simply, unique, her formidable intelligence matched only by her stubborn resistance to the cancer that plagued her later years.
They will miss her, increasingly, for there will not be another like her. I shall miss her very particular brand of extreme eccentricity combined with humour and the touch of genius.
Vera Rich with the Right Reverend Borys Gudziak, then rector of Ukrainian Catholic University in Lviv, at the Ukrainian Institute in London (Photo by Olga Kerziouk)
I am one of those who miss her badly. I miss her phone calls and emails (example below), reading Shevchenko in Ukrainian on the Piazza during coffee breaks, ordering books to answer her numerous queries about Ukrainian and Belarusian culture. Vera Rich is one of the best-known modern British names in Ukraine and Belarus. To understand why, it is worth looking in our catalogue.
Email from Vera Rich with her translation of Shevchenko's poem Oi hlianu ia, podyvliusia
Her contribution to translating and promoting Belarusian and Ukrainian literatures is enormous. English speakers interested in Eastern European literatures became familiar with works by Lesya Ukrainka, Taras Shevchenko, and Ivan Franko due to Vera’s translations. The British Library holds Constantine Bida’s, Lesya Ukrainka: life and work, which includes selected works translated by Vera Rich (Toronto, 1968; X.900/3941). For the 150th anniversary of Shevchenko’s death she translated his poetry for the book Song out of darkness.
Title page of Song out of darkness: selected poems by Taras Shevchenko (London, 1961) 11303.bb.3
The crowning achievement of her career as a translator from Ukrainian was published posthumously in 2013, for Taras Shevchenko’s 200th birthday: a translation of his Kobzar (Kyiv, 2013; YF.2014.b.264). Other translations are available online in the Ukrainian Electronic Library, such as her translation of a famous poem by Ivan Franko, Moisei (‘Moses’). A full bibliography of her Ukrainian literary translations is included in Hanna Kosiv’s monograph : Vira Rich: tvorchyĭ portret perekladacha (‘Vera Rich: portrait of a translator’; Lviv, 2011; YF.2012.a.17207). Interesting memoirs about meetings with her are published in a book by the Ukrainian literary critic Dmytro Drozdovsky Merydian rozuminni︠a︡ (Kyïv, 2011; YF.2012.a.12084). For many years Vera worked with the Ukrainian émigré community; from 1993-1999 she was a Deputy Editor of The Ukrainian Review (P.P.4842.dns), and later she wrote a popular column about recent news from Ukraine with the picant ending “And finally…” for the London-based émigré newspaper Ukrainska Dumka (‘Ukrainian Thought’; LOU.1165 [1994])
Her first translation from Belarusian appeared in 1957 in the émigré newspaper Batskaushchyna (‘Fatherland’), published in Munich (MFM.MF537T). It was a poem by the famous Belarusian poet Janka Kupala. In 1971 the first anthology of translations of Belarusian poetry into English, Like Water, Like Fire: An anthology of Byelorussian poetry from 1828 to the present day (X15/4600), containing the work of 40 poets, was published, followed by a bilingual selection of poetry, The Images Swarm Free (London, 1982; X.950/22024) with translations of poems by Ales Harun, Maksim Bahdanovich, and Zmitrok Biadula. In 2004 Radio Free Europe in Prague published her translations of modern Belarusian poetry Poems on liberty: reflections for Belarus (YD.2011.a.1845). After her death her translations were included in a bilingual book Melodiya︡ natkhnenni︠a︡ = A melody of inspiration (Minsk, 2012; YF.2012.a.21519; photo below).
A passionate defender of human rights, Vera Rich translated from Russian manuscripts about Soviet censorship for The Medvedev papers by Zhores A. Medvedev (Nottingham, 1975; X.100/16205) and wrote an extensive chapter ‘Jewish themes and characters in Belorussian texts’ for The image of the Jew in Soviet literature: the post-Stalin period (New York, 1985; 85/23477). For more than 20 years she was the Soviet and East European correspondent for the scientific weekly Nature. Her numerous contributions can be found in the archive.
Other articles on a variety of subjects appeared in The Lancet and Index on Censorship. She also translated poems from Polish, especially by Cyprian Norwid, Spanish (the poem Los puntos cardinales by Carlos Sherman; Minsk, 2000; YF.2008.a.37017), Old Icelandic and Old English.
Vera Rich was also an accomplished original poet in her own right. Her modestly-published poetry books are: Outlines (London:, 1960; 11351.g.1), Sonnetarium: a chapbook of sonnets (London, 1962; 011498.a.45), Portents and Images: A collection of original verse and translations (London, [1963]; 11303.i.49) and Heritage of Dreams. A sketchbook in verse of Orkney ([Kirkwall], 1964; X.909/5128). Examples of her short, witty poems are available on the site AllPoetry. She was a founder and editor (1962-1969 and again from 1998 until her death) of the poetry magazine Manifold (ZK.9.a.6262). It published not only high-quality original poetry but also translations from lesser-known languages. Amongst all these numerous activities Vera found a time to prepare literary events and perform with her enthusiastic friends for various occasions in different places. I particularly remember the inspirational programme “Ukraine: From Mazepa to Maidan” performed in Oxford in 2007 at the invitation of the Oxford Student Ukrainian Society.
I would like to finish my tribute to this extraordinary woman with her own poem written for the 80th birthday of the prominent Belarusian priest Father Alexander Nadson in 2006 and published in the Festschrift Sontsa tvaio ne zakotsitstsa, i mesiats tvoĭ ne skhavaetstsa = Your sun shall never set again, and your moon shall wane no more: essays in honour of Fr Alexander Nadson on the occasion of his eightieth birthday… (Minsk, 2009; YF.2011.b.788) :
Olga Kerziouk, Curator Belarusian and Ukrainian studies
09 March 2016
Migration in Ukrainian literature
Since the early 20th century, Ukrainian literature has been composed in countries all over the globe. Waves of emigration by Ukrainian writers began after October 1917 and the subsequent war with Russia, and continued after the Second World War and during the Brezhnev era. Those waves were created by a threat to life and freedom.
Nowadays, writers do not generally have to flee for their lives and tend to leave Ukraine in search of betterment or fulfilment – as do many characters in their books. Ukraine-based writers, still living in the homeland of millions of labour migrants, are also increasingly turning to the subject of migration. During Soviet times, freethinking books in Ukrainian were published in the West and smuggled back into Ukraine. Today it’s a different story, and expat readers have to obtain Ukrainian books from Ukraine (there is no significant e-book system although plenty of pirated books online). Thanks to travel and social media, modern expat writers are in direct contact with their readership. Their books, whether written in London or Lviv, are published by mainstream Ukrainian publishing houses and sold through Ukrainian book stores to Ukrainian readers. Expat writers are no longer isolated from mainstream literature but are part of the same discourse.
The BBC Ukrainian Book of the Year awards recognise the best new work of fiction in Ukrainian with a prize of £1,000 awarded to the author. Since the Cultural Programme of the EBRD became a partner in 2012, the award has been extended to include the Ukrainian Children’s Book of the Year.
Most prominent modern expat writers have featured in the longlists and shortlists for the award over the years, and three have come away with the top prize: Volodymyr Dibrova (Harvard), Yaroslav Melnyk (Vilnius) and Vasyl Makhno (New York). All three were already recognised names in Ukraine – as a prose and drama writer, literary critic and poet respectively – before emigrating. Dibrova and Makhno, both university teachers, moved for work, and Melnyk for love.
Vasyl Makhno won the 2015 award with his first collection of short stories, Dim u Beiting Hollov (A House In Baiting Hollow). The book, which revolves around the town of Chortkiv in the Ternopil region of Ukraine, spans several decades, from before the Second World War to modern times, and nearly every story concerns migration.
Photograph of Vasyl Makhno (published with kind permission of Ostap Kin)
The first story takes us to Baiting Hollow, a seaside neighbourhood near New York City, where an impoverished Ukrainian intellectual and his much younger girlfriend try to make their home, hindered by history, memories and mental breakdown. Another story concerns a labour migrant who tries to legalise his stay in the US through a sham marriage. But the most heart-wrenching story tells us about the migrant that never was. In ‘Hat, figs, plums’, a Jewish fishmonger yearns to leave Chortkiv and join his brothers in America, but in the end cannot obtain a US visa. As events develop in the final days before the Soviet invasion, we realise that he will never reach Ellis Island. A passage in the story describes migration from Chortkiv in the preceding decades:
And Jews dissolved among the street traders, and passed on to each other - warm, like a chicken egg, - the word of Torah, so as not to forget who they are. And the Poles spread out from the Chicago slaughterhouses of Illinois to mines and farms of Pennsylvania, keeping church wafers under their tongues, so as not to forget who they are. And Ukrainians drifted into the streets of strange towns, bowing their heads as they read the Gospels, so as not to forget who they are. And if they were from Chortkiv, no matter whether Jews, Ukrainians or Poles, they found in their languages such words as to remember the dust of that land and the sky of that city.
Vasyl Makhno, Dim u Beĭting Hollov (Lviv, 2015) YF.2016.a.2477
Migration both to and from Ukraine also provided material for Ponaikhaly (‘Overrun’; YF.2016.a.4136) by Artem Chapay, a journalist and author from Kyiv. The protagonist starts out as a skinhead, “defending” his town from Arab, Afghan and African migrants. He leaves the skinhead group when he finds out that its leader gets kickbacks from local competitors of migrant businessmen. In the finale, Chapay’s hero, now himself a migrant worker in Moscow, gets punched up by local skinheads who take exception to his dark hair. Chapay’s book, is probably the most comprehensive exploration of migration today.
Cover of Ponaikhaly by Artem Chapai (Kyiv, 2015). YF.2016.a.4136
Another notable example from recent years is Frau Miuller ne nalashtovana platyty bil'she (‘Frau Müller is Not Willing to Pay More’; YF.2014.a.8581) by Lviv-based author Natalka Snyadanko, shortlisted for the BBC prize in 2013, which explores a relationship between two lesbian Ukrainian migrants in Berlin.
One effect of migration is accepting a new language, culture and identity. It has a similar effect on literature - migration has not only introduced a new topic into Ukrainian literature, but also authors who write about Ukrainian migration in English. One author who neither is nor writes in Ukrainian is the Scottish academic, translator and writer, Uilleam Blacker. After years of research on and translation of Ukrainian authors and of hanging out with young Ukrainian expats, Blacker wrote a play, Bloody East Europeans, which was first staged by Molodyi Teatr, an amateur London-based troupe consisting mainly of Ukrainian migrant workers, at the 2015 Edinburgh Fringe Festival. It explores identity, money, forced labour, sex labour, ethnic stereotypes, and tells many typical stories that abound in migrant communities.
British-Ukrainian novelist Marina Lewycka hardly needs an introduction. In her bestseller, A Short History of Tractors in Ukrainian, she looked at both post-war migrants and more recent arrivals. Her character Valentina, a fake-breasted Ukrainian blonde who marries the narrator’s elderly father, was hilarious to many British readers but did not endear Lewycka to Ukrainian publishers. Lewycka’s second novel, Two Caravans (Nov.2007/2003), which also takes labour migration as its subject, was translated (by myself) and published in Ukraine years before a publisher was found there for the first novel.
A Short History of Tractors in Ukrainian by Marina Lewycka, in English (right: LT.2013.x.2459) and in Ukrainian translation (left: YF.2014.a.6053)
In the coming years, new perspectives on migration will probably emerge in Ukrainian literature, following the annexation of Crimea and the war in Donbas, with close to a million internally displaced persons now living throughout the country as a result. Their plight is already reflected in poetry by Serhiy Zhadan, born in Donbas and raised in Kharkiv, perhaps Ukraine’s most talented literary voice. Longer works of fiction, which take time, will surely follow, and some may well be in Russian and in Crimean Tatar.
Svitlana Pyrkalo, Principal Communications Adviser, EBRD London, and BBC Ukrainian Book of the Year judge
24 August 2015
“No longer a borderland”
The last chapter of the second edition of Anna Reid’s famous book Borderland. A Journey through the history of Ukraine has the following paragraph:
“The biggest change since I lived in Ukraine is that it now feels like a real country. Though plenty of people would have got cross if you had said so, it used to have something of a make-believe, provisional air. With nearly quarter of a century and two patriotic revolutions under its belt, that has all gone. Ukraine is no longer a borderland. It is its own place and here to stay”.
I would be one of those people who would get cross – as for me, a Ukrainian, my beloved native country was always a very real one (so real that it is physically painful) and never ever a “Borderland”. The same feeling was shared by Ukrainian chroniclers and historians thorough centuries, yet their works, due to lack of translations and financial reasons, were not widely known. The works of the eminent Ukrainian historian Mykhailo Hrushevsky are now available in English translation. The British Library holds his monumental multi-volume work Istoriia Ukrainy-Rusi (History of Ukraine-Rus’; Edmonton, 1997-; ZD.9.a.1557) translated and published by the Canadian Institute of Ukrainian Studies.
Hrushevskyi, Mykhailo. Istoriia Ukrainy-Rusy. Tom 1. (Lviv, 1898) Ac.763
For many outsiders the history of Ukraine often appeared merely as an appendix to greater imperial histories or later that of the USSR (often misnamed “Russia”). No wonder that when in 1991 Ukraine emerged as an independent state it came as a shock to some Western scholars. The British historian Andrew Wilson published a book with the telling title The Ukrainians: unexpected nation, which has now been translated into Ukrainian. The observations of travellers and discoverers of Ukraine are very revealing and helpful. Yet Ukraine, which is celebrating its 24th anniversary of its independence in 1991 today, remains Terra Incognita for many people, although a lot was written about its rich history over the centuries in many countries and in various languages and collected in libraries throughout the world. Type the word “Ukraine” in our catalogue – and a surprising variety of items will present itself for your research: old maps, books and pamphlets, musical scores and oral history, journals and newspapers, microfilms and microfiches, electronic resources and archived websites.
For many years map enthusiasts delighted to look at the famous 17th-century maps by Sir Guillaume de Beauplan held in our Map Collections (Maps 39780.(1.); Maps 39780.(2.); Maps K.Top.110.73.) and read his Description d’Ukranie, qui sont plusieurs provinces du Royaume de Pologne; contenuës depuis les confins de la Moscovie jusques aux limites de la Transilvanie; ensemble leurs moeurs, façons de vivre, & de faire la guerre (Rouen, 1660; 1056. l.14.(3)) or its translations into English, Russian and Ukrainian.
General Depiction of the Empty Plains (in Common Parlance, Ukraine) Together with its Neighboring Provinces created 1648 by Beauplan (image from Wikimedia Commons)
The medieval state of Kievan Rus, Ukraine as part of the Polish-Lithuanian Commonwealth, Cossack state, gradual absorption by the Russian empire, bloody 20th century with two world wars, Holodomor, Holocaust, Stalinist persecutions etc. – all these subjects have been studied by numerous historians, especially in the last two decades. Ukraine’s rich history – “one of the bloodiest histories in the world” (in the words of Anna Reid) – inspired many poets, philosophers, writers and composers. Just check the entries about Ivan Mazeppa in our catalogue. Works by Byron, Victor Hugo, Aleksandr Pushkin, Juliusz Slowacki, Liszt, Tchaikovsky and others who were inspired by some aspects of Mazeppa’s life (or rather legends about him) are an integral part of our collections.
The British Library holds various materials about state-building in Ukraine. Amongst rare editions we have the text of the first Ukrainian Constitution 1710 Pacta Constitutiones Legum Libertatumque Exercitus Zaporoviensis (Lausanne, 1916; 9454.h.8; pictured above) and books about its author Pylyp Orlyk, 19th-century Geneva editions by political thinker Mykhailo Drahomanov, an early translation of Hrushevsky into English (The Historical Evolution of the Ukrainian Problem, translated by George Raffalovich and published in London in 1915; 9455.bbb.32; pictured below), various publications by the League of Liberation of Ukraine, some of them digitised for Europeana 1914-1918, interwar periodicals (in print and/or on microfilms) published outside Soviet Ukraine etc.
The most recent history of Ukraine (the Orange Revolution in 2004, Maidan in 2013-2014, the annexation of Crimea and the war in Donbas) are also represented in numerous articles, books and photo albums published in and outside Ukraine. As Ukraine celebrated its “fragile independence” (the title of a charity photo exhibition soon to be opened in London) it is worth remembering its powerful national anthem Shche ne vmerla Ukraina (Ukraine has not yet died, nor her glory, nor her freedom) and following the developments in Ukraine more closely than ever before. “Ukraine is no longer a borderland. It is its own place, and here to stay”. And ready to be studied more deeply by the younger generation of scholars.
Periodical Nezalezhna Ukraina (Independent Ukraine) Issue 1 November 1928. Published in Geneva by Ukrainskyi Revoliutsiinyi Komitet. P.P.3554.nx
Olga Kerziouk, Curator Ukrainian studies
References and further reading
Applebaum, Anne. Between East and West: across the borderlands of Europe (London, 1995). YC.1996.a.2541
IAkovenko, Natalia. Narys istoriï serednʹovichnoï ta rannʹomodernoï Ukraïny (Kyïv, 2006) YF.2008.a.9009
Polonska-Vasylenko, Natalia. Two conceptions of the history of Ukraine and Russia. London, 1968 X.709/3687
Plokhy, Serhii. Ukraine and Russia: representations of the past (Toronto, c2008). m08/.19199
Plokhy, Serhii. The origins of the Slavic nations: premodern identities in Russia, Ukraine, and Belarus. (Cambridge, 2006). YC.2007.a.12739 and m06/.33417
Reid, Anna. Borderland. A Journey through the History of Ukraine. (London, 2015). Online resource ELD.DS.12324
Snyder, Timothy. The reconstruction of nations: Poland, Ukraine, Lithuania, Belarus, 1569-1999. (New Haven, Conn.; c2003). YC.2005.a.5172 and m03/22676
Snyder, Timothy. Bloodlands: Europe between Hitler and Stalin. (London, 2010). YC.2011.a.10280
Yekelchyk, Serhy. Ukraine : birth of a Modern Nation. (New York-Oxford, 2007) YK.2008.a.13391 and m07/.24664
Wilson, Andrew. The Ukrainians: unexpected nation (3rd edition; New Haven, Conn.; 2009) YC.2010.a.15137
26 July 2015
Letter from Donbass miners
“Dear Comrades,” the letter began, “On the 18th anniversary of the October revolution, we send you our greetings.” Dated 10 October 1935 and signed by Soviet Esperantists working in the Donbass region of the Soviet Union, the letter endeavored, via the formulaic ardour of Stalinist homage, to “tell how the miners used to live before the revolution, and how they live now freed from the capitalists, thanks to the Communist party and the genius of the revolutionary leader Lenin, and the wise leadership of our beloved comrade, friend and leader Stalin.”
Translated from Esperanto into English and entitled “From a Russian Miner” (although it was in fact sent not from Russia but from Postyshevo, now Krasnoarmiisk, in Ukraine), this hearty missive appeared in the pages of a 1936 issue of La Laborista Esperantisto (The Worker Esperantist; British Library P.P.3558.ibl.) – the periodical of the British Section of the global Esperantist organization known as Sennacieca Asocio Tutmonda (S.A.T.) [World Anational Association]. As the standard inside cover of La Laborista Esperantisto reliably explained, S.A.T.’s primary aim was “to utilize in practical ways the international language, ESPERANTO, for the class aims of the working class throughout the world.” S.A.T. insisted that Esperanto allowed workers to share ideas and educate one another; to collaborate in pursuit of the revolutionary aims of the worldwide proletariat; and to foster “a strengthened feeling of human solidarity” among Esperantist workers otherwise separated not merely by spatial distance, but also by national borders, languages, and citizenship regimes.
For its own part, “From a Russian Miner” carried the imprimatur of a regional outpost of the Union of Soviet Esperantists. When in 1921 the Union of Soviet Esperantists was established in Petrograd, its founding members devoted themselves to the popularization and deployment of Esperanto as a means of fostering cultural exchange, revolutionary networks, and friendly relations between Soviet workers and their comrades abroad. The global solidarity of proletarian Esperantists would thus advance the global solidarity of the proletariat as a whole.
Throughout the late 1920s and early 1930s, Soviet Esperantists sought to realize this broad internationalist goal largely through the increasingly regulated practice of what the Soviets called “workers’ correspondence.” Soviet Esperantists adapted this method of propaganda, committing themselves to flooding foreign news outlets and workers’ associations with carefully crafted missives like the one that appeared in La Laborista Esperantisto in 1936. The point was to extol Soviet achievements and squash anti-Soviet “rumours” propagated by deceitful capitalists – and to do so via the international auxiliary language of Esperanto. Esperantist leaders abroad could then, in the hoped-for scenario, translate and reprint the Soviet Esperantists’ letters in the foreign press, thereby transmitting official Soviet ideology to workers abroad.
An Esperanto class for workers, From Esperanto dlia rabochikh: uchebnik dlia kruzhkov i samoobrazovaniia (Moscow, 1930), p. 56.
By the time “From a Russian Miner” appeared, the Union of Soviet Esperantists was in crisis. On the eve of the Stalinist terror that would devour many of the organization’s members, the problems that bedevilled it ranged widely. While an analysis of these problems goes beyond the scope of this blog entry, “From a Russian Miner” highlights certain flaws in the Union’s approach to fostering global proletarian solidarity under the conjoined red star of the Soviet Union and green star of Esperanto.
“From a Russian Miner” adopted the format of a letter, but reads like a singsong recitation of talking points issued from a bureaucratic office. As promised in its opening paragraph, it first enumerates the horrors and indignities of miners’ pre-revolutionary life in tsarist Russia, and then celebrates their joyful new Soviet life. Living and working conditions prior to the revolution, the letter explains, were miserably inhumane as workers inescapably sacrificed themselves to “create riches for an army of parasites.” Production was not only punishing and humiliating, but also shamefully primitive “as nothing was known of machinery.” Clean drinking water was denied the sickened workers, as was even a rudimentary education.
Soviet poster "Work conditions of miners and workers in the Don Basin" (image from Wikimedia Commons)
The narrative arc marches stalwartly onward in such fashion to the revolutionary climax: the dawning of the “bright and sunny day” that is the contemporary Soviet Union. The life of the Soviet miner, the letter explains, is one of fresh air, clean water, and nutritious food. Electricity illuminates the workplace and modern machinery powers industrial production. First-aid stations, bathhouses, classrooms, and a Palace of Culture ensure good health and enlightenment. “In comparison with our past life, our present life is scarcely credible,” the letter explains. “Every miner has his little house surrounded with greenery. He has a vegetable garden, pigs, birds, and perhaps a cow.” All of this is owed, the letter concludes, to the wise revolutionary leadership of Lenin and Stalin.
No doubt the so-called “workers’ correspondence” that Soviet Esperantists transmitted abroad in the 1920s and 1930s did energize and inspire foreign workers, igniting their imagination of everyday Soviet life as a model to be emulated globally. In this way, Esperanto did serve the Soviet Union in pursuit of its internationalist aims. Yet the formulaic missives authorized by the Union of Soviet Esperantists for foreign consumption also obstructed the organization’s stated effort to facilitate relationships between Soviet workers and their comrades abroad. Taking “From a Russian Miner” as a representative example of permissible Soviet Esperantist correspondence in the Stalinist 1930s, it is impossible to overlook not only its unnuanced presentation of an entirely unblemished Soviet life, but also its unrelenting monologic approach. The letter’s gaze focuses resolutely inward while its tone is conspicuously incurious about life abroad. “From a Russian Miner” poses no questions to foreign Esperantists, nor does it invite questions from them. The letter’s portrait of Soviet working life is numbingly generic and depersonalized; the collective workers’ “we” is narratively flattened into the faceless beneficiary of the October Revolution. The letter thumps with triumphal celebration of Soviet achievements, but palpably lacks the human touch of the Soviet citizens who wrote it.
“From a Russian Miner” concludes with a plea for a reply from fellow Esperantists abroad – “a letter by which we can feel the brotherhood and solidarity of the world’s workers.” It asks, in other words, for something that “From a Russian Miner” itself failed to deliver.
Brigid O’Keeffe
Brigid O’Keeffe is an Assistant Professor of History at Brooklyn College of the City University of New York. In June 2015, she joined The Reluctant Internationalists project at Birkbeck College as a Visiting Fellow. During this time, she conducted research at the British Library, using its extensive collection of materials that document the global history of Esperanto and Esperantism.
24 April 2015
“As though everyone were alive…”
Type the word “Chernobyl” into our online catalogue, and a few thousand results will come for your attention. Unsurprisingly most of them will be scientific articles in academic journals and papers from international conferences as in the 29 years since the Chernobyl disaster a lot has been done by the world scientific community to assess the tragic event on 26 April 1986 and its consequences in all aspects. Articles and books have been published in many countries in various languages. At the moment 13 theses about Chernobyl from universities in the United Kingdom are listed in our catalogue.
In addition our Belarusian and Ukrainian Collections offer researchers ethnographical studies of the region of Polesia which was most severely affected by the catastrophe, as well as valuable albums of photographs by intrepid journalists who regularly visit the Chernobyl Exclusion Zone. In the Zone they take pictures of the rich wildlife there and of people who refused to leave their ancestral land and continued living in the contaminated places (they are called samosely).
For the commemoration of the tenth anniversary of the catastrophe Ukrainian photographers published the album Imennia zori Chornobyl (‘The star is called Chornobyl’; Kyiv, 1996; YA.2001.b.4323) and five years later the bilingual album Chornobyl: chas podolannia = Chornobyl: time of overcoming (Kyiv, 2001; LB.31.a.9541). British independent photographer John Darwell travelled to the Exclusion Zone and produced a memorable album entitled Legacy. Photographs inside the Chernobyl Exclusion Zone (Stockport, 2001; LB.31.a.10507).
One of the most impressive albums was published in 2006 to commemorate the 20th anniversary of the catastrophe by the well-known Belarusian photographer, ethnographer and publisher Dzianis Ramaniuk with the title and text in three languages: Charnobyl / Chernobyl / Tschernobyl (Minsk, 2006; LF.37.b.78) It contains outstanding colour and black-and-white photographs by Ihar Byshniou, Anatol Kliashchuk and Dzianis Ramaniuk. The album gives a comprehensive overview of the nature and history of the region and its inhabitants. The German photographer Rüdiger Lubricht took pictures of abandoned villages and of samosely and of people who were involved in dealing with the immediate results of the catastrophe (Verlorene Orte. Gebrochene Biografien (Dortmund, 2012) LF.31.a.4052). The most recent photographic album by German photographer Gerd Ludwig (he visited the Chernobyl area nine times in recent 20 years), The long shadow of Chernobyl/Der lange Schatten von Tschernobyl/L'Ombre de Tchernobyl (Baden, 2014) LC.37.b.609) with an essay by Mikhail Gorbachev has already been acquired for the British Library.
This great catastrophe on an apocalyptic scale inspired poets from various countries – from Belarus to Wales and Venezuela – to reflect about it and the future of the nuclear energy.
Books of poetry from our Collections
A poet from Venezuela, Lucila Velasquez (1928-2009), was one of the first to write a long poem El Arbol de Chernobyl = Tree of Chernobyl (Caracas, 1989; YA.1993.a.6858) based on her meditation about the catastrophe and the future of humankind. Poems by Belarusian authors were collected in the anthology Zorka Palyn (Minsk, 1993; YA.2000.a.14105). In Britain, poet and environmentalist Mario Petrucci published two poetry books: Half life: Poems for Chernobyl (Coventry, 2004; YK.2006.a.9836) dedicated to the prominent Belarusian writer and investigative journalist Svetlana Alexievich) and Heavy water: A poem for Chernobyl (London, 2004; YK.2005.a.16818). Some of these poems can be found here. Later two versions of a documentary film were made based on Petrucci’s poem: Heavy Water: A film for Chernobyl and a shorter version called Half Life: A journey to Chernobyl. They were shown at various festivals (one of reviews is available here).
The Ukrainian poet, translator and journalist Liubov Sirota, who is a native of Pripyat and witnessed the catastrophe with her own eyes, writes extensively on the subject. Some of her poems are accessible online. The title of my blog which just touches on our vast collection about Chernobyl derives from Sirota’s poem “To an Angel of Pripyat”. The poem is dedicated to the talented young pianist Olenka Chemezova, who died from cancer in the summer of 1995. It was published in a photo album of the same name. The poet imagines that the ghost city of Pripyat is returning to life through the magic touch of the young pianist:
The darkened eye sockets of dead buildings
will once again be filled with the heat of human beings…
The city will hold its breath for a moment
while you descend into your house…
And again a thousand voices from the street
will begin to sound the former daily happenings…
as though everyone were alive, and all had returned,
as though the city were still alive….
(Translated from the Russian by Liubov Sirota and Debra Romanick Baldwin)
Liubov Sirota worked together with Rolland Sergienko to create the film Porog (‘Threshhold’) about Chernobyl. The British Library does not hold many DVDs from Eastern Europe, but it has a DVD of the Belarusian film-maker Viktor Korzun’s, Verytsʹ tolʹki vetru: Charnobylʹ 20 hadoŭ paslia (Minsk, 2007; EF.2013.x.26)
Music is another powerful vehicle to express the human pain and horror caused by the Chernobyl catastrophe. Some specimens of musical works about Chernobyl are available in our Sound collections: from Chernobyl by Blanck Mass and Chernobyl Rain by Hibbs (Gong) to orchestral music (Chernobyl by Nancy van de Vate, performed by the Polish Radio and Television Symphony Orchestra). New musical works about Chernobyl are created every year. It is heart-warming to find out that on Sunday 26 April 2015 the London-based Ukrainian composer Alla Sirenko will present the premiere of her own work in London dedicated to the victims of Chernobyl and Fukushima.
Olga Kerziouk, Curator Belarusian and Ukrainian studies
References
Aleksievich, Svetlana. Voices from Chernobyl: chronicle of the future. Normall, Il., 2005. m05/30342
Medvedev, Zhores A. The legacy of Chernobyl. Nottingham, 2011. YC.2012.a.15740
Mycio, Mary. Wormwood Forest: a natural history of Chernobyl. Washington, D.C., 2005. YC.2006.a.10733
Park, Chris C. Chernobyl. The Long Shadow. London, 1989. YC.1989.a.6423
Read, Piers Paul. Ablaze: the story of Chernobyl. London,1993. YK.1995.a.2707
Shcherbak, Iurii. Chernobyl: a documentary story (translated from the Ukrainian by Ian Press; foreword by David R. Morples). Basingstoke,1989. YC.1989.a.8562 and 89/12279.
09 March 2015
Shevchenko: a voice for unsung heroines
We all have in our hearts some lines of poetry which struck us like lightning when read for the first time. For me such lines were the beginning of Taras Shevchenko’s poem Maryna: “Nenache tsviashok v sertse vbytyi / otsiu Marynu ia noshu” (“Like a nail driven in the heart, / I carry this Maryna with me” [translated by Peter Fedynsky])
As a teenage girl in Ukraine I could not stop thinking about Maryna and her tragic fate. Shevchenko wrote this poem in 1848 – his second year of exile as a private soldier near the Aral Sea. Memories and stories from his childhood and two recent visits to Ukraine (before his arrest, imprisonment, trial and condemnation to 10 years of soldiering) flooded his imagination.
Shevchenko. Self-portrait as a soldier, 1847 (From Wikimedia Commons)
The tragic story of Maryna, a newly-married young woman, who was spotted by a lusty landowner during her wedding and consequently made one of his many mistresses, would not leave him day or night and so it needed to be told, as well as stories of other women, usually serfs, by whose fate he was touched and with whom he empathised so much. In fact it is very hard to find in the whole of world literature another poet who would express his empathy for women so warmly and in such a passionate way as Shevchenko. As we have just celebrated International Women’s Day and now are commemorating Shevchenko Days (9-10 March) it is appropriate to say something more about the women in his poetry.
As the literary critic Myroslav Shkandrij noted in his blog “Shevchenko’s Relevance Today” :
[…] perhaps no other great poet has been so woman-centred. The fate of his female characters dominates his poems and stories. The deceived and abandoned girl, the enslaved, wronged or suffering woman are recurrent images, and their stories provide the basic narrative of many works. Yes, this feature of his poetry can be interpreted as a trope – a metaphor for the situation of the Ukrainian people -- but it is also a metaphor for the situation of all the vulnerable, voiceless, and subaltern.
The best known and most translated poem by Shevchenko is Kateryna (the British Library holds translations into many languages, including one into Esperanto: Katerino, Paris, 1912; RB.23.b.6700). Shevchenko dedicated it to Vasily Zhukovsky, the famous Russian poet who contributed so much towards Shevchenko’s own emancipation from serfdom in 1838. The heroine of the poem, Kateryna, is a village girl who fell in love/was seduced by a Russian officer when soldiers of the Russian imperial army stayed in her Ukrainian village. The officer leaves. Kateryna gives a birth to a boy and is ostracised in the village. Her strict conservative parents throw her and the baby out of their house. Kateryna tries to find the officer and commits suicide after his rejection. Generations of Ukrainian women, many of whom could not read and write themselves, shed tears about the fate of Kateryna and knew many lines from this poem by heart. Shevchenko, being a very gifted painter, also painted his heroine.
Kateryna. Oil painting by Taras Shevchenko 1842 (From Wikimedia Commons)
Shevchenko was orphaned very early: his mother died when he was nine years old and his father when he was twelve. As an orphan and a serf in the estate of the rich land-owner Pavel Engelhardt he was separated from the rest of his family at the age of thirteen and taken to St Petersburg. Yet the fate of women serfs was often even harder. In St Petersburg Shevchenko composed his first ballads based on the rich Ukrainian folklore: Prychynna (‘Bewitched’, 1838), Dumka (‘A Thought’, beginning “What good are my dark brows to me…”, 1838), Topolia (‘The Poplar’, 1839) and others. In Topolia a young girl in love, whose "dearly cherished" Cossack "went away and perished", is transformed into a poplar by the depth of her sorrow. Her story is well-known, so "the chumak on his journey sees it,/ Bows his head before it; /The shepherd with his reed-pipe sits / On the gravemound on the morning, / Sees it and his heart is aching..." (translated by Vera Rich).
After writing a lot about Zaporozhians and the great Cossack past of Ukraine Shevchenko returned to the fate of women during his two journeys to Ukraine (1843 and 1845-1847), when he, already a free man himself, observed the fate of servant women in his poems Naimychka (The Hireling, 1845), Malen'kii Mar’iani (To little Maryanne, (1845) and others.
He continued to write and paint in exile. Here is one of a few works by Shevchenko depicting Kazakh girls:
Shevchenko. Katya, a Kazakh Girl. Fort Novopetrovsk, 1856-1857. Sepia on paper (© The National Museum of Taras Shevchenko)
One of the best- loved of Shevchenko’s poems in Ukraine is his Son (The Dream), written after he returned from exile. It describes the dream of a serf-woman in summer:
She reaped the wheat in serfdom’s labour;
Worn–out; for the rest she did not come
To the sheaf - she made her way there
To feed Ivan, her little son….
She falls asleep, and in her dream she can see:
She saw, in dreams, her son Ivan
Grown up, of handsome, manly carriage,
Wealthy, betrothed, and now his marriage
To a free bride – he a free man,
No more the lord’s, they lived in freedom…
(Translated by Vera Rich)
This poem was dedicated to the bright young Ukrainian writer Marko Vovchok, whose debut (the publication of Narodni opovidannia [ ‘Folk stories’] in 1858; we hold the second edition from 1861; 12590.g.2) Shevchenko greeted with great enthusiasm.
Portrait of Marko Vovchok (stamp of Ukraine) From Wikimedia Commons
The poem was written in 1858. The Emancipation reform in the Russian empire happened a few years later. Shevchenko did not live to see it. On 17 February 1859 he dedicated another poem “To Marko Vovchok” in which he called her “My light, / You are my holy star in truth / You are for me the strength of youth.” Marko Vovchok lived a long life and became one of the classic writers of Ukrainian literature, many of whom are women. They all acknowledge Shevchenko’s poetical skills and his profound humanity which makes him a poet so much loved by every new generation in Ukraine.
Olga Kerziouk, Curator Ukrainian studies
References
The Complete Kobzar. The Poetry of Taras Shevchenko, translated from the Ukrainian by Peter Fedynsky. (London, 2013). YK.2014.a.17425
Shevchenko, Taras. Kobzar. [Translated by Vera Rich] (Kyiv, 2013). YF.2014.b.264
Shevchenko, Taras. Songs out of Darkness. Selected poems translated from the Ukrainian by Vera Rich. (London, 1961). 11303.bb.3 and W60/0682
04 February 2015
“A master craftsman in the European tradition”
As the Chinese Year of the Sheep is approaching, it is a good time to write about a wonderful artist from Ukraine whose centenary was celebrated last week. Yakiv Hnizdovsky (known as Jacques Hnizdovsky) was born on 27 January 1915 in Ukraine. He studied at the Academy of Fine Arts in Warsaw, then, after escaping from war-torn Poland, at the Academy of Fine Arts in Zagreb. In 1949 he moved to the United States. Hnizdovsky’s Wikipedia entry describes him as “a Ukrainian-American painter (working in oil, acrylic, tempera and watercolor), printmaker, sculptor, illustrator and lettering designer”. Another description of him comes from a lovely book of poetry called Birds and Beasts by American poet William Jay Smith: “Throughout his life, which ended in 1985, Hnizdovsky remained a master craftsman in the European tradition, an artist whose interpretations of animals, plants, and figures were immediately recognizable for their vigor, strength, and quiet humor”.
Hnizdovsky. Self-portrait. Reproduced with the permission of the Hnizdovsky Estate
Hnizdovsky was a very prolific artist. He produced prints, primarily woodcuts and linocuts, as well as fine etchings. Some of them can be found on the website created by his family for the Centennial Celebrations this year. Another site about the life and work by Hnizdovsky has been in existence for over 12 years: http://www.hnizdovsky.com/
The British Library offers researchers the possibility to find out more about the life and work of this outstanding Ukrainian-American artist by collecting his better- and less well-known books. Our holdings include works illustrated by Hnizdovsky: Flora Exotica by Gordon deWolf (Boston, 1972; Wf2/1968); The Auk, the Dodo and the Oryx: Vanished and Vanishing Creatures by Robert Silverberg (Kingswood, 1973; X.319/6596); Birds and Beasts (Boston, 1990; YD.2007.b.2096); a collection of poems by Thomas Hardy (London, 1979; X.989/53376) as well as catalogues of his numerous exhibitions.
We also have his earliest works, published in the famous Ukrainian émigré artistic journal Arka (‘Arch’; Munich, 1947-1948; P.P.4842.dnr); in the jubilee edition of Slovo o polku Ihorevi (‘The Tale of Prince Ihor’s campaign’; Philadelphia, 1950; J/11586.i.36); in a lovely collection of Ukrainian folk tales translated by Marie Halun Bloch (London, 1964; X.990/127).
Collage of books illustrated by Hnizdovsky and catalogues of his exhibitions from our collections
In 1986 Stephanie Hnizdovsky, the artist’s widow, published a small artistic book Jacques Hnizdovsky Ex Libris (Brtish Library's shelfmark YF.2010.a.21249) with beautiful bookplates made for his family, friends, collectors, libraries and museums. In it Hnizdovsky explained:
My interest in ex libris goes back to the early thirties. Bookplates were popular then in Western Ukraine.[...] I have not created many bookplates.[...] Nevertheless I feel that the ex libris is one of the most personal and intimate art forms. It requires close cooperation between the artist and the consumer, and mutual respect on the part of each. Today when grandiosity, attention seeking “shock tactics” prevail in the art field, the ex libris offers a refreshing alternative. It may be small in size, but it certainly is not a “small” art”.
Ex Libris Jacques Hnizdovsky (Sheep in a Pen). Reproduced with the permission of the Hnizdovsky estate
Hnizdovsky’s best-known print is ‘The Sheep’, for which he was awarded the First Prize at the Boston Printmakers annual exhibition in 1962 (below on the left, with Flock of Lambs below right, both reproduced with the permission of the Hnizdovsky Estate; more sheep and rams are to be found here). Lovers of nature and beauty and collectors worldwide remember and cherish this fine artist. Once you have seen Hnizdovsky’s works you will keep them in your memory forever. And you will smile when hearing his name. I do.
Olga Kerziouk, Curator Ukrainian Studies
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