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袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟 蟹 褍泻褉邪褩薪褋褜泻芯谐芯 褋械泻褋褍
小械泻褋褍邪谢褜薪邪 芯写褨褋褋械褟 褏褍写芯卸薪懈泻邪 泄 锌芯械褌械褋懈, 褉芯蟹谐芯褉褌邪褞褔懈褋褜 胁 校泻褉邪褩薪褨 泄 袗屑械褉懈褑褨 泻褨薪褑褟 啸啸 褋褌芯褉褨褔褔褟, 芯斜械褉褌邪褦褌褜褋褟 锌褉邪胁写懈胁芯褞 褋械褉械写薪褜芯胁褨褔薪芯褞 屑褨褋褌械褉褨褦褞, 胁 褟泻褨泄 谐械褉芯褩薪褟 锌褉芯褏芯写懈褌褜 泻褉褍谐邪屑懈 薪械写邪胁薪褜芯褩 褍泻褉邪褩薪褋褜泻芯褩 褨褋褌芯褉褨褩, 褖芯斜 蟹褍褋褌褉褨褌懈褋褟 胁褨褔-薪邪-胁褨褔 褨蟹 袛懈褟胁芯谢芯屑.
141 pages, Paperback
First published January 1, 1996
382 people are currently reading
4466 people want to read
About the author
Oksana Zabuzhko
64听books517听followersOksana Zabuzhko is a contemporary Ukrainian writer, poet and essayist.
Born in Lutsk, Ukraine, Zabuzhko studied philosophy at the Kyiv University, where she also obtained her doctorate in aesthetics in 1987. In 1992 she taught at Penn State University as a visiting writer. Zabuzhko won a Fulbright scholarship in 1994 and taught Ukrainian literature at Harvard and University of Pittsburgh. Currently Zabuzhko works at the Hryhori Skovoroda Institute of Philosophy of the National Academy of Sciences of Ukraine.
Zabuzhko is known both for her literary works and criticism. Her controversial bestselling novel Field Work in Ukrainian Sex was translated in eight languages. In her writing Zabuzhko draws a lot of attention to the questions of Ukrainian self-identification, post-colonial issues and feminism. Her book Let My People Go won the Korrespondent magazine Best Ukrainian documentary book award in June 2006, and The Museum of Abandoned Secrets, Best Ukrainian Book 2010.
For Ukrainian language profile see 袨泻褋邪薪邪 袟邪斜褍卸泻芯
Born in Lutsk, Ukraine, Zabuzhko studied philosophy at the Kyiv University, where she also obtained her doctorate in aesthetics in 1987. In 1992 she taught at Penn State University as a visiting writer. Zabuzhko won a Fulbright scholarship in 1994 and taught Ukrainian literature at Harvard and University of Pittsburgh. Currently Zabuzhko works at the Hryhori Skovoroda Institute of Philosophy of the National Academy of Sciences of Ukraine.
Zabuzhko is known both for her literary works and criticism. Her controversial bestselling novel Field Work in Ukrainian Sex was translated in eight languages. In her writing Zabuzhko draws a lot of attention to the questions of Ukrainian self-identification, post-colonial issues and feminism. Her book Let My People Go won the Korrespondent magazine Best Ukrainian documentary book award in June 2006, and The Museum of Abandoned Secrets, Best Ukrainian Book 2010.
For Ukrainian language profile see 袨泻褋邪薪邪 袟邪斜褍卸泻芯
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April 11, 2022
鈥�A true homeland is the country that can kill you, even at a distance.鈥�
First published in 1996 when Ukraine had recently become an independent nation, Fieldwork in Ukranian Sex propelled Oksana Zabuzhko to fame as the novel remained a bestseller for the remained of the decade. It has been dubbed 鈥�the most influential Ukrainian book for the 15 years of independence,鈥� and recent global events have made me decide that reading it was all the more necessary. The book is an experimental, stream-of-conscious examination of identity, told through the mind of a Ukrainian poet now living in the United States. Having left both her country and former lover behind, she reflects upon a tumultuous relationship of abuse, anger and, possibly, love as well as the complexities of identities. Across dense yet insightful musings that spiral together, Zabuzhko examines many forms of identity, as a woman, a poet, and in terms of national identity in the newly formed Ukrainian nation as both the narrator鈥檚 body and fractured relationship form a complex metaphor for Ukrainian history and hopes for a future.
鈥�Ukrainian choice is a choice between nonexistence and an existence that kills you...鈥�
Zabuzhko masterfully conducts a multi-layered narrator, one that teases comparisons to the author herself (she is also a poet who left Ukraine to teach in the United States), as well as to Ukraine as a whole. The body, often described as an entity almost separate from herself, functions as an idea of Ukraine, having different territories controlled at various times by various nations such as Russia, Germany and Poland much in the way her body has been controlled by the abusive men that hold power over her. Her relationship with an artist named Mykola, we quickly see echoes the Ukrainian history, and the stream-of-conscious style that sashays between first, second and third person at a whim is a wonderful example of wrestling with identity and often feeling 鈥�neither here nor there鈥� even in ones own body, language, and country. These themes are able to come alive so dynamically through Zabhuzhko鈥檚 prowess as a poet, an artistic style that truly gives birth to this novel.
鈥�poems, do they only predict or do they, God help us, construct our future for us鈥�鈥�
Poetry informs this whole book. The stream-of-conscious style to the prose, which is able to seamlessly leap between ideas both adjacent or nearly apropos of nothing, has a very poetic quality to it. As the narrator is a poet herself, her own poems pepper the narrative to add an additional depth to her self-reflections, and these poems are some of the only breaks from the dense and lengthy paragraphs that fortify the short novel. The translation from is quite wonderful, having to incorporate a whole emotional range with punctuation鈥攔arely have I seen text this emdash heavy outside an poem鈥攖o create a rhythm with commas, or animate a sentence with use of bold and italic font faces. To call it a rant wouldn鈥檛 be wrong, as it is filled with vitriolic reflections as well as painful introspective examinations, but the poetry of her language keeps it flowing forward and while it is complicated and meandering, rarely does it become tiresome. It is a narrative that flows, but less like a river and more like water spilling out in all directions over a surface.
鈥�Obviously her mother tongue was the most nutritious, most healing to the senses.鈥�
Much of this novel revolves around the theme of keeping culture, language, and identity alive. The narrator describes herself as a 鈥�professional Ukrainianizer,鈥� always insisting upon bestowing knowledge of her beloved homeland to others and educating about their arts even through her own. Yet she despairs, as there is so little of it and feels she 鈥� had grown tired of not being in this world,鈥� spending her life upholding writers who 鈥�hurled themselves like firelogs into the dying embers of the Ukranian with nothing to fucking show for it but mangled destinies and unread books鈥� (as opposed to Gogol who had 鈥�no choice but to write in Russian!鈥�) Ukrainian poet has that 鈥�Nation is narration,鈥� and the narrator鈥檚 defense and dismay of Ukrainian is rooted in a similar insecure attachment with her nation.
鈥�Each nation goes crazy in its own way.鈥�
National identity is a complex idea, one that requires healthy examination and re-examination, and pride without awareness and introspection of what it means can quickly fall into chauvinism and violent nationalism. This novel wonderfully addresses these sorts of meditations on identity, with the narrator moving from moments of sheer pride and utter disgust. She wants so badly for the newly formed nation to succeed, while also recognizing the generational traumas on a national scale (鈥�We are all from the camps. That heritage will be with us for a hundred years.鈥� she writes of the Gulags that still haunt national memory), and the pitfalls and challenges towards a brighter future.
This is so embedded in the examination of her failed relationship that one might wonder if the relationship is mostly just a reason to project her thoughts on national identity for the narrator as much as it is the aim of the author. Her musings on submissiveness and on occupation by another body she extends into her thoughts on her identity as a woman but quickly begins to see it in a national context of being Ukrainian.
鈥�our hapless literature is merely a cry of someone pinned down by a beam in a building after an earthquake 鈥� I鈥檓 here! I鈥檓 still alive!鈥�
Fieldwork in Ukrainian Sex is a ponderous novel, short in length but dense in prose and thought. It is full of graphic imagery, terrible acts by men, and full of a longing for a Ukraine she can be at peace with after a long, arduous history. She has hope, however, and Ukraine was, at the time of writing, still in its infancy of independence. 鈥�Truth is only found in childhood, only through it can we find the true measure of our lives,鈥� she writes, adding you can retain this beauty 鈥�if you have managed not to trample to death that little girl inside you.鈥� May Ukraine continue and flourish, and may you read and enjoy this novel.
4/5
First published in 1996 when Ukraine had recently become an independent nation, Fieldwork in Ukranian Sex propelled Oksana Zabuzhko to fame as the novel remained a bestseller for the remained of the decade. It has been dubbed 鈥�the most influential Ukrainian book for the 15 years of independence,鈥� and recent global events have made me decide that reading it was all the more necessary. The book is an experimental, stream-of-conscious examination of identity, told through the mind of a Ukrainian poet now living in the United States. Having left both her country and former lover behind, she reflects upon a tumultuous relationship of abuse, anger and, possibly, love as well as the complexities of identities. Across dense yet insightful musings that spiral together, Zabuzhko examines many forms of identity, as a woman, a poet, and in terms of national identity in the newly formed Ukrainian nation as both the narrator鈥檚 body and fractured relationship form a complex metaphor for Ukrainian history and hopes for a future.
鈥�Ukrainian choice is a choice between nonexistence and an existence that kills you...鈥�
Zabuzhko masterfully conducts a multi-layered narrator, one that teases comparisons to the author herself (she is also a poet who left Ukraine to teach in the United States), as well as to Ukraine as a whole. The body, often described as an entity almost separate from herself, functions as an idea of Ukraine, having different territories controlled at various times by various nations such as Russia, Germany and Poland much in the way her body has been controlled by the abusive men that hold power over her. Her relationship with an artist named Mykola, we quickly see echoes the Ukrainian history, and the stream-of-conscious style that sashays between first, second and third person at a whim is a wonderful example of wrestling with identity and often feeling 鈥�neither here nor there鈥� even in ones own body, language, and country. These themes are able to come alive so dynamically through Zabhuzhko鈥檚 prowess as a poet, an artistic style that truly gives birth to this novel.
鈥�poems, do they only predict or do they, God help us, construct our future for us鈥�鈥�
Poetry informs this whole book. The stream-of-conscious style to the prose, which is able to seamlessly leap between ideas both adjacent or nearly apropos of nothing, has a very poetic quality to it. As the narrator is a poet herself, her own poems pepper the narrative to add an additional depth to her self-reflections, and these poems are some of the only breaks from the dense and lengthy paragraphs that fortify the short novel. The translation from is quite wonderful, having to incorporate a whole emotional range with punctuation鈥攔arely have I seen text this emdash heavy outside an poem鈥攖o create a rhythm with commas, or animate a sentence with use of bold and italic font faces. To call it a rant wouldn鈥檛 be wrong, as it is filled with vitriolic reflections as well as painful introspective examinations, but the poetry of her language keeps it flowing forward and while it is complicated and meandering, rarely does it become tiresome. It is a narrative that flows, but less like a river and more like water spilling out in all directions over a surface.
鈥�Obviously her mother tongue was the most nutritious, most healing to the senses.鈥�
Much of this novel revolves around the theme of keeping culture, language, and identity alive. The narrator describes herself as a 鈥�professional Ukrainianizer,鈥� always insisting upon bestowing knowledge of her beloved homeland to others and educating about their arts even through her own. Yet she despairs, as there is so little of it and feels she 鈥� had grown tired of not being in this world,鈥� spending her life upholding writers who 鈥�hurled themselves like firelogs into the dying embers of the Ukranian with nothing to fucking show for it but mangled destinies and unread books鈥� (as opposed to Gogol who had 鈥�no choice but to write in Russian!鈥�) Ukrainian poet has that 鈥�Nation is narration,鈥� and the narrator鈥檚 defense and dismay of Ukrainian is rooted in a similar insecure attachment with her nation.
鈥�Each nation goes crazy in its own way.鈥�
National identity is a complex idea, one that requires healthy examination and re-examination, and pride without awareness and introspection of what it means can quickly fall into chauvinism and violent nationalism. This novel wonderfully addresses these sorts of meditations on identity, with the narrator moving from moments of sheer pride and utter disgust. She wants so badly for the newly formed nation to succeed, while also recognizing the generational traumas on a national scale (鈥�We are all from the camps. That heritage will be with us for a hundred years.鈥� she writes of the Gulags that still haunt national memory), and the pitfalls and challenges towards a brighter future.
鈥�Eastern fatalism, oh yes鈥攖he Russians have it; we鈥檙e in worse shape, we, actually, are neither here nor there, Europe has managed to infect us with the raving fever of individual desire, faith in our personal 鈥淵es I can!鈥濃€攈owever, we never developed a foundation for such faith鈥ur Ukranian 鈥淚 can!鈥� helpless and alone. Amen.鈥�
This is so embedded in the examination of her failed relationship that one might wonder if the relationship is mostly just a reason to project her thoughts on national identity for the narrator as much as it is the aim of the author. Her musings on submissiveness and on occupation by another body she extends into her thoughts on her identity as a woman but quickly begins to see it in a national context of being Ukrainian.
鈥�our hapless literature is merely a cry of someone pinned down by a beam in a building after an earthquake 鈥� I鈥檓 here! I鈥檓 still alive!鈥�
Fieldwork in Ukrainian Sex is a ponderous novel, short in length but dense in prose and thought. It is full of graphic imagery, terrible acts by men, and full of a longing for a Ukraine she can be at peace with after a long, arduous history. She has hope, however, and Ukraine was, at the time of writing, still in its infancy of independence. 鈥�Truth is only found in childhood, only through it can we find the true measure of our lives,鈥� she writes, adding you can retain this beauty 鈥�if you have managed not to trample to death that little girl inside you.鈥� May Ukraine continue and flourish, and may you read and enjoy this novel.
4/5
April 13, 2022
Unfortunately this is the case of a reread being worse than the original read-through. Apparently I鈥檓 not sophisticated enough literature-wise, but I just felt relief when I got to the last page and there was no more of this book left.
How to describe it? Well, I鈥檒l give it my best try. Suffocatingly self-centered, written in stream-of-consciousness wall-to-wall-text paragraphs, with single sentences running on for twenty-plus lines, punctuated with endless em-dashes, like a frantic neverending thought that never pauses to take a breath.
What is this about? Well, damn. Musings about abusive relationship, cruel domineering men, disappointing and painful sex, toxic feelings that sometimes pass for love, loads of bitter resentment, full of obsession with sex (hey, it鈥檚 in the title) which at times seems to be borne out of loneliness, not in the least loneliness born from emigration into a foreign culture, and yet full of unjustified inflated sense of self-importance. It鈥檚 miserable, neverendingly so.
At times the narrative gets punctuated with musings on Ukraine and the pain arising from uncertainty and long-standing oppression, but before it has a chance to become at all interesting or profound it slips back into self-absorbed musings full of either complaints or obsession about sex and what passes for unhealthy obsessive and abusive 鈥渓ove鈥�, and it gets just a bit tedious and boring. And tediously boring is not an attractive quality in a book.
(Those rambling text blocks reminded me superficially of Saramago, but without his dry insights, and the level of self-absorbed self-indulgence of Kundera, but without that signature charm and wit.)
That breathless obsessive stream-of-consciousness writing at times gets interrupted by brief poems that were actually alright but carry absolutely zero appeal in the translation, devoid of both rhythm and rhyme - the qualities that stand out in Ukrainian original but fell just a bit short of me giving it that second star. Maybe if there were more of them to interrupt that uncomfortable stupor this book has plunged me it would have helped, but alas that did not happen.
I read it side by side in Ukrainian original and English translation, going through each paragraph twice this way and noting how little things feel different in translation, how overall feeling changes very subtly in unavoidable ways, and catching little things missed on the first read through the endless sentences. And surprisingly I actually liked the translated version a little bit more, with the rougher parts (or maybe rawer parts?) a bit smoothed out and less jarring 鈥� but also making language more palatable, finding words that sound less jarringly vulgar than in the original, but perhaps a bit more unintentionally sanitized than intended - and I suspect that it goes against the author鈥檚 intent to be a bit shocking in the crudeness.
By the end I was just relieved that it was over.
1.5 stars (that 1/2 added for the poems).
Time for Vonnegut instead.
鈥斺赌斺赌斺赌斺赌斺赌�
Also posted on .
How to describe it? Well, I鈥檒l give it my best try. Suffocatingly self-centered, written in stream-of-consciousness wall-to-wall-text paragraphs, with single sentences running on for twenty-plus lines, punctuated with endless em-dashes, like a frantic neverending thought that never pauses to take a breath.
What is this about? Well, damn. Musings about abusive relationship, cruel domineering men, disappointing and painful sex, toxic feelings that sometimes pass for love, loads of bitter resentment, full of obsession with sex (hey, it鈥檚 in the title) which at times seems to be borne out of loneliness, not in the least loneliness born from emigration into a foreign culture, and yet full of unjustified inflated sense of self-importance. It鈥檚 miserable, neverendingly so.
At times the narrative gets punctuated with musings on Ukraine and the pain arising from uncertainty and long-standing oppression, but before it has a chance to become at all interesting or profound it slips back into self-absorbed musings full of either complaints or obsession about sex and what passes for unhealthy obsessive and abusive 鈥渓ove鈥�, and it gets just a bit tedious and boring. And tediously boring is not an attractive quality in a book.
鈥溞⊙卛写薪懈泄 褎邪褌邪谢i蟹屑, 械谐械 卸, 鈥� 褍 褉芯褋i褟薪 褑械 褦, 蟹 薪邪屑懈 谐i褉褕械, 褋泻谢邪写薪i褕械, 屑懈, 胁谢邪褋薪械, 薪i 褋械, 薪i 褌械, 袆胁褉芯锌邪 胁褋褌懈谐谢邪 蟹邪褉邪蟹懈褌懈 薪邪褋 屑褍褌薪芯褞 谐邪褉褟褔泻芯褞 i薪写懈胁i写褍邪谢褜薪芯褩 褏芯褌i, 胁i褉芯褞 褍 胁谢邪褋薪械 "屑芯卸褍!" 鈥� 芯写薪邪褔械 锌i写褋褌邪胁 写谢褟 泄芯谐芯 褋锌褉邪胁写卸械薪薪褟, 褔i锌泻懈褏 褋褌褉褍泻褌褍褉, 泻芯褌褉i 斜 褌械 "屑芯卸褍!" 锌i写褏芯锌谢褞胁邪谢懈 泄 褌褉懈屑邪谢懈, 屑懈 薪i泻芯谢懈 薪械 胁懈褉芯斜懈谢懈, 褕邪屑芯褌邪褞褔懈褋褜 胁i泻邪屑懈 薪邪 写薪i i褋褌芯褉i褩, 鈥� 薪邪褕械 胁泻褉邪褩薪褋褜泻械 "屑芯卸褍!" 褋邪屑芯褌薪褦 i 褌芯屑褍 斜械蟹褋懈谢械. 袗屑i薪褜.鈥�
鈥淓astern fatalism, oh yes鈥攖he Russians have it; we鈥檙e in worse shape, we, actually, are neither here nor there, Europe has managed to infect us with the raving fever of individual desire, faith in our personal 鈥淵es I can!鈥濃€攈owever, we never developed a foundation for such faith, those structures that might support that 鈥淚 can!鈥� and thus have tussled about for ages at the bottom of history鈥攐ur Ukrainian 鈥淚 can!鈥� helpless and alone. Amen.鈥�
(Those rambling text blocks reminded me superficially of Saramago, but without his dry insights, and the level of self-absorbed self-indulgence of Kundera, but without that signature charm and wit.)
That breathless obsessive stream-of-consciousness writing at times gets interrupted by brief poems that were actually alright but carry absolutely zero appeal in the translation, devoid of both rhythm and rhyme - the qualities that stand out in Ukrainian original but fell just a bit short of me giving it that second star. Maybe if there were more of them to interrupt that uncomfortable stupor this book has plunged me it would have helped, but alas that did not happen.
I read it side by side in Ukrainian original and English translation, going through each paragraph twice this way and noting how little things feel different in translation, how overall feeling changes very subtly in unavoidable ways, and catching little things missed on the first read through the endless sentences. And surprisingly I actually liked the translated version a little bit more, with the rougher parts (or maybe rawer parts?) a bit smoothed out and less jarring 鈥� but also making language more palatable, finding words that sound less jarringly vulgar than in the original, but perhaps a bit more unintentionally sanitized than intended - and I suspect that it goes against the author鈥檚 intent to be a bit shocking in the crudeness.
By the end I was just relieved that it was over.
1.5 stars (that 1/2 added for the poems).
Time for Vonnegut instead.
鈥斺赌斺赌斺赌斺赌斺赌�
Also posted on .
March 2, 2022
A pleasing fact鈥攐ne of the most popular Ukrainian novels is a strident, experimental, and full-fanged onslaught on the country鈥檚 culture, history, and machismo, narrated by a feminist writer working in America.* The prose is constructed in torturously poetic page-long sentences, with frequent shifts from first to second to third person, blurring the line between autofiction and narrative, as the narrator recounts an abusive relationship within a broader Bernhardian canvas combining a cryptic and hilarious onslaught of snark with reflection, comment, and free-association oddness (a chunk of which is lost to this Ukrainely na茂ve reader). This sort of novel is relegated to DIY indie presses with ten subscribers in the UK. In Ukraine, it was on the bestseller list for ten years. Viva Ukraine!
* Note: Patriotism or pride of country should involve a continuous act of national self-interrogation and the tireless pursuit of improvement through the examination of history, rather than falling knock-kneed before a flag. Ukraine understands this.
* Note: Patriotism or pride of country should involve a continuous act of national self-interrogation and the tireless pursuit of improvement through the examination of history, rather than falling knock-kneed before a flag. Ukraine understands this.
September 8, 2024
蟹邪写芯胁芯谢械薪薪褟 胁褨写 泻薪懈谐懈 褟 薪械 芯褌褉懈屑邪谢邪. 褨 锌褉芯斜谢械屑邪 薪械 胁 褌懈褏 写芯胁卸械谢械蟹薪懈褏 褉械褔械薪薪褟褏, 薪褨. 泻薪懈卸泻邪 蟹邪薪邪写褌芯 锌褉械褌械薪蟹褨泄薪邪, 蟹邪泻芯褋 薪邪 械谢褨褌邪褉薪械 锌褨写 锌褉懈蟹屑芯褞 斜褍写械薪薪芯谐芯. 薪褍 褋锌褉芯斜邪 谐邪褉薪邪, 邪谢械 胁懈泻芯薪邪薪薪褟 褖芯褋褜 蟹邪薪邪写褌芯 褎邪谢褜褕懈胁芯-锌邪褎芯褋薪械, 薪邪谐褉邪薪械. 袟邪斜褍卸泻芯 泻邪卸械, 褖芯 褑械 褌邪泻邪 褩褩 屑邪薪械褉邪 写褍屑邪褌懈 褨 锌懈褋邪褌懈, 褖芯 芯褌 胁芯薪邪 锌邪屑始褟褌邪褦, 写械 锌芯褔邪褌芯泻 褉械褔械薪薪褟 褨 写械 褌芯泄 锌褨写屑械褌, 锌邪屑始褟褌邪褦 褋胁芯褞 写褍屑泻褍. 褌邪 泄 写芯斜褉械, 褖芯 锌邪屑始褟褌邪褦. 邪谢械 胁懈 薪械 蟹芯斜芯胁始褟蟹邪薪褨 褉芯蟹褍屑褨褌懈 褔懈 蟹邪褏芯锌谢褞胁邪褌懈褋褟 褌邪泻懈屑 褋褌懈谢械屑 薪邪锌懈褋邪薪薪褟, 薪邪胁褨褌褜 褟泻褖芯 胁褋褨 薪邪胁泻褉褍谐懈 褌胁械褉写褟褌褜, 褖芯 褋邪屑械 褌邪泻褨 泻薪懈谐懈 鈥� 褑械 泻薪懈谐懈 褨薪褌械谢械泻褌褍邪谢褜薪褨 褨 锌芯泻邪蟹薪懈泻 芯褋胁褨褔械薪芯褋褌褨. 薪械 褋谢褍褏邪泄褌械 褌邪泻懈褏 谢褞写械泄. 胁褋褨 屑懈 褉褨蟹薪褨 褨 褖芯褉邪蟹褍 锌褉芯斜懈褉邪褌懈褋褟 褔械褉械蟹 胁始褞薪泻褨 褋谢芯胁邪 薪械 锌褨写 褋懈谢褍 械谢械屑械薪褌邪褉薪芯 褔械褉械蟹 褌械, 褖芯 屑芯蟹芯泻 泻芯卸薪芯谐芯 蟹 薪邪褋 锌芯-褉褨蟹薪芯屑褍 褋锌褉懈泄屑邪褦 褨薪褎芯褉屑邪褑褨褞.
胁 褌芯泄 卸械 褔邪褋 写褍屑泻邪 袟邪斜褍卸泻芯 写芯褋懈褌褜 锌褉芯褋褌邪, 蟹褉芯蟹褍屑褨谢邪 芯写褉邪蟹褍, 邪谢械 胁芯薪邪 褩褩 斜褍写褍褦 胁懈屑褍褕械薪芯 褋泻谢邪写薪懈屑懈 褉械褔械薪薪褟屑懈 薪邪 褌懈褋褟褔褨 褋褌芯褉褨薪芯泻 蟹 写芯写邪胁邪薪薪褟屑 邪斜褋芯谢褞褌薪芯 蟹邪泄胁懈褏 泻芯薪褌械泻褋褌褨胁. 褨 胁褉邪卸械薪薪褟, 褖芯 褑械 胁褋械 褨褋薪褍褦 谢懈褕械 写谢褟 褌芯谐芯, 褖芯斜 褏芯褔 写械褋褜 胁懈泻芯褉懈褋褌邪褌懈 褌褨 胁褋褨 褋谢芯胁邪, 褟泻褨 褦 褍 薪械褩 胁 褋谢芯胁薪懈泻芯胁芯屑褍 蟹邪锌邪褋褨. 褑械 薪械锌芯谐邪薪芯 褨 薪械写芯斜褉械. 褑械 锌褉芯褋褌芯 褨褋薪褍褦, 邪谢械 胁懈 屑邪褦褌械 锌褉邪胁芯 薪械 褏芯褌褨褌懈 褑械 褔懈褌邪褌懈, 胁懈 屑邪褦褌械 锌褉邪胁芯 褋泻邪蟹邪褌懈, 褖芯 胁邪屑 褑械 薪械 锌芯写芯斜邪褦褌褜褋褟 褨 胁懈 薪械 褏芯褔械褌械 薪邪 褑械 胁懈褌褉邪褔邪褌懈 褔邪褋. 褟泻褖芯 褏芯褔械褌械 鈥� 胁懈褌褉邪褔邪泄褌械, 褑械 卸 胁邪褕 褔邪褋 褨 胁邪褕械 褔懈褌邪薪薪褟.
屑芯卸谢懈胁芯, 写谢褟 90-褏 褑褟 泻薪懈谐邪 斜褍谢邪 锌褉芯褉懈胁 褨 胁懈泻谢懈泻邪谢邪 褎褍褉芯褉, 屑芯卸褍 锌芯胁褨褉懈褌懈. 邪谢械 蟹邪褉邪蟹 褑械 胁褋械 薪械 褋锌褉懈泄屑邪褦褌褜褋褟 褟泻 褖芯褋褜 褍薪褨泻邪谢褜薪械, 褋胁褨卸械, 薪芯胁械, 蟹邪褏芯锌谢懈胁械. 写芯褋谢褨写卸械薪薪褟 卸褨薪泻懈 褋邪屑芯褞 卸褨薪泻芯褞 鈥� 芯泻, 褑械薪褌褉邪谢褜薪邪 褌械屑邪 泻薪懈谐懈. 邪谢械 褔懈 谐邪褉薪芯 褑褟 褌械屑邪 锌褉芯锌懈褋邪薪邪? 屑械薪褨 蟹写邪谢芯褋褜, 褖芯 薪褨. 邪写卸械 胁邪屑 褌褨谢褜泻懈 芯斜褨褑褟褞褌褜 褑械 写芯褋谢褨写卸械薪薪褟, 邪 胁懈褟胁谢褟褦褌褜褋褟, 褖芯 褑械 锌褉芯褋褌芯 褋谢芯胁芯 斜械蟹 蟹屑褨褋褌褍.
褖芯写芯 薪邪褑褨芯薪邪谢褜薪芯褩 褨写械薪褌懈褔薪芯褋褌褨 鈥� 薪褍 褌褍褌 褌械卸 褌邪泻械, 褖芯 褨 胁 斜褍写褜-褟泻褨泄 褨薪褕褨泄 泻薪懈蟹褨 褍泻褉邪褩薪褋褜泻懈褏 锌懈褋褜屑械薪薪懈泻褨胁 斜褍写械 褑褟 褌械屑邪 锌褨写褨泄屑邪褌懈褋褟 褨 斜褍写械 胁褋械 褖械 邪泻褌褍邪谢褜薪芯褞. 邪斜褋褌褉邪谐褍胁邪褌懈褋褟 褨 褋锌褉懈泄屑邪褌懈 泻薪懈谐褍 胁懈泻谢褞褔薪芯 褔械褉械蟹 褉芯蟹胁懈褌芯泻 谢褞写褋褜泻懈褏 褋褌芯褋褍薪泻褨胁 鈥� 褑械泄 褋褞卸械褌 屑械薪褨 胁懈写邪胁褋褟 薪褍写薪懈屑 褨 谐芯谢芯胁薪邪 谐械褉芯褩薪褟 屑械薪褨 斜邪泄写褍卸邪, 薪械褑褨泻邪胁邪.
褌芯屑褍, 褟 薪械 褉芯蟹褍屑褨褞 薪邪胁褨褖芯 褟 褑械 褔懈褌邪谢邪: 褖芯 褟, 褟泻 褔懈褌邪褔泻邪, 屑邪褞 芯褌褉懈屑邪褌懈 锌褨褋谢褟 锌褉芯褔懈褌邪薪芯谐芯. 褔械褉谐芯胁邪 锌褉懈蟹屑邪: 卸褨薪泻邪 褟泻 写芯谢褟 校泻褉邪褩薪懈, 校泻褉邪褩薪邪 褟泻 卸褨薪泻邪 鈥� 写胁邪 芯斜褉邪蟹懈, 褟泻褨 锌械褉械锌谢褨褌邪褞褌褜褋褟 褔械褉械蟹 褌褉邪胁屑懈, 斜褨谢褜, 薪械胁懈蟹薪邪褔械薪褨褋褌褜, 芯褔褨泻褍胁邪薪薪褟, 薪械锌褉懈泄薪褟褌褌褟 褨 褌邪泻 写邪谢褨, 褨 胁褋械 锌芯 褌芯屑褍 褋邪屑芯屑褍 泻芯谢褍. 邪薪邪谢褨蟹 褋械斜械 褔械褉械蟹 邪薪邪谢褨蟹 薪邪褑褨芯薪邪谢褜薪芯谐芯 鈥� 褌械卸 胁邪屑 褌邪泻芯谐芯 薪邪褋懈锌谢褟褌褜 胁 泻薪懈蟹褨. 褋泻芯褉褨褕 蟹邪 胁褋械, 褟 锌褉芯褋褌芯 锌械褉械薪邪褋懈褌懈谢邪褋褜 褌邪泻懈屑 芯斜褉邪蟹芯屑, 褏芯褔, 蟹薪芯胁褍 卸 褌邪泻懈, 写谢褟 褔邪褋褨胁 90-褏 褑械 斜褍谢芯 褋屑褨谢懈胁芯 褌邪 蟹褍褏胁邪谢芯.
芦袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟鈥β� 写褍卸械 褋懈谢褜薪芯 薪邪谐邪写邪谢懈 屑械薪褨 芦袦芯褋泻芯胁褨邪写褍禄 袗薪写褉褍褏芯胁懈褔邪. 锌芯褋褌屑芯写械褉薪褨蟹屑, 谐芯谢芯胁薪褨 谐械褉芯褩 锌芯械褌懈, 褦 芯斜褉邪蟹 锌械泻谢邪 褨 袛邪薪褌械, 芯斜褉邪蟹 锌芯胁械褉薪械薪薪褟 写芯写芯屑褍. 褟 薪械 褏芯褔褍 锌褉芯褌懈褋褌邪胁谢褟褌懈 褑褨 写胁褨 泻薪懈谐懈 芦卸褨薪芯褔懈泄禄 褨 芦褔芯谢芯胁褨褔懈泄禄 锌芯谐谢褟写, 褌懈屑 薪械 屑械薪褕, 褔械褉械蟹 褉褨蟹薪懈褑褞 谐械薪写械褉褍 褉褨蟹薪懈褑褞 褨 胁 褋胁褨褌芯褋锌褉懈泄薪褟褌褌褨 锌芯斜邪褔懈褌懈 屑芯卸薪邪, 邪 芯褌 锌械胁薪褨 褉芯蟹写褍屑懈 锌褉芯 褍泻褉邪褩薪褋褜泻褍 谢褨褌械褉邪褌褍褉褍, 谢褞写械泄, 薪邪褑褨褞 褑械 写褨泄褋薪芯 褋褏芯卸械. 褨 薪械 褌芯屑褍, 褖芯 褏褌芯褋褜 胁 泻芯谐芯褋褜 胁泻褉邪胁 褨写械褩, 邪 褌芯屑褍, 褖芯 胁 褌褨 褉芯泻懈 谢褞写褟屑 斜芯谢褨谢芯 褔械褉械蟹 胁邪卸谢懈胁械 薪邪褑褨芯薪邪谢褜薪芯-褌胁芯褉褔械, 褌邪 泄 写芯褋褨 斜芯谢懈褌褜.
褨 屑械薪褨 蟹写邪褦褌褜褋褟, 褖芯 袟邪斜褍卸泻芯 褌械锌械褉 褋褌邪谢邪 褌懈屑 芯斜褉邪蟹芯屑, 锌褉芯 褟泻懈泄 屑芯写薪芯 谐芯胁芯褉懈褌懈. 薪邪褔械, 褦 泻薪懈卸泻懈 屑邪褋芯胁褨, 邪 褦 械谢褨褌邪褉薪褨, 锌褉芯褌械 褌褉邪锌懈谢芯褋褜 褌邪泻, 褖芯 褋邪屑邪 卸 袟邪斜褍卸泻芯 褋褌邪谢邪 褌懈屑 屑邪褋芯胁懈屑 胁 褋胁芯褩泄 械谢褨褌邪褉薪芯褋褌褨.
褋泻芯褉褨褕 蟹邪 胁褋械, 褨薪褕褨 褌胁芯褉懈 锌邪薪褨 袨泻褋邪薪懈 屑械薪褨 屑芯卸褍褌褜 褋锌芯写芯斜邪褌懈褋褟 薪邪斜邪谐邪褌芯 斜褨谢褜褕械 (邪斜芯 薪褨). 褌芯屑褍, 褌褉械斜邪 褔懈褌邪褌懈 写邪谢褨.
胁 褌芯泄 卸械 褔邪褋 写褍屑泻邪 袟邪斜褍卸泻芯 写芯褋懈褌褜 锌褉芯褋褌邪, 蟹褉芯蟹褍屑褨谢邪 芯写褉邪蟹褍, 邪谢械 胁芯薪邪 褩褩 斜褍写褍褦 胁懈屑褍褕械薪芯 褋泻谢邪写薪懈屑懈 褉械褔械薪薪褟屑懈 薪邪 褌懈褋褟褔褨 褋褌芯褉褨薪芯泻 蟹 写芯写邪胁邪薪薪褟屑 邪斜褋芯谢褞褌薪芯 蟹邪泄胁懈褏 泻芯薪褌械泻褋褌褨胁. 褨 胁褉邪卸械薪薪褟, 褖芯 褑械 胁褋械 褨褋薪褍褦 谢懈褕械 写谢褟 褌芯谐芯, 褖芯斜 褏芯褔 写械褋褜 胁懈泻芯褉懈褋褌邪褌懈 褌褨 胁褋褨 褋谢芯胁邪, 褟泻褨 褦 褍 薪械褩 胁 褋谢芯胁薪懈泻芯胁芯屑褍 蟹邪锌邪褋褨. 褑械 薪械锌芯谐邪薪芯 褨 薪械写芯斜褉械. 褑械 锌褉芯褋褌芯 褨褋薪褍褦, 邪谢械 胁懈 屑邪褦褌械 锌褉邪胁芯 薪械 褏芯褌褨褌懈 褑械 褔懈褌邪褌懈, 胁懈 屑邪褦褌械 锌褉邪胁芯 褋泻邪蟹邪褌懈, 褖芯 胁邪屑 褑械 薪械 锌芯写芯斜邪褦褌褜褋褟 褨 胁懈 薪械 褏芯褔械褌械 薪邪 褑械 胁懈褌褉邪褔邪褌懈 褔邪褋. 褟泻褖芯 褏芯褔械褌械 鈥� 胁懈褌褉邪褔邪泄褌械, 褑械 卸 胁邪褕 褔邪褋 褨 胁邪褕械 褔懈褌邪薪薪褟.
屑芯卸谢懈胁芯, 写谢褟 90-褏 褑褟 泻薪懈谐邪 斜褍谢邪 锌褉芯褉懈胁 褨 胁懈泻谢懈泻邪谢邪 褎褍褉芯褉, 屑芯卸褍 锌芯胁褨褉懈褌懈. 邪谢械 蟹邪褉邪蟹 褑械 胁褋械 薪械 褋锌褉懈泄屑邪褦褌褜褋褟 褟泻 褖芯褋褜 褍薪褨泻邪谢褜薪械, 褋胁褨卸械, 薪芯胁械, 蟹邪褏芯锌谢懈胁械. 写芯褋谢褨写卸械薪薪褟 卸褨薪泻懈 褋邪屑芯褞 卸褨薪泻芯褞 鈥� 芯泻, 褑械薪褌褉邪谢褜薪邪 褌械屑邪 泻薪懈谐懈. 邪谢械 褔懈 谐邪褉薪芯 褑褟 褌械屑邪 锌褉芯锌懈褋邪薪邪? 屑械薪褨 蟹写邪谢芯褋褜, 褖芯 薪褨. 邪写卸械 胁邪屑 褌褨谢褜泻懈 芯斜褨褑褟褞褌褜 褑械 写芯褋谢褨写卸械薪薪褟, 邪 胁懈褟胁谢褟褦褌褜褋褟, 褖芯 褑械 锌褉芯褋褌芯 褋谢芯胁芯 斜械蟹 蟹屑褨褋褌褍.
褖芯写芯 薪邪褑褨芯薪邪谢褜薪芯褩 褨写械薪褌懈褔薪芯褋褌褨 鈥� 薪褍 褌褍褌 褌械卸 褌邪泻械, 褖芯 褨 胁 斜褍写褜-褟泻褨泄 褨薪褕褨泄 泻薪懈蟹褨 褍泻褉邪褩薪褋褜泻懈褏 锌懈褋褜屑械薪薪懈泻褨胁 斜褍写械 褑褟 褌械屑邪 锌褨写褨泄屑邪褌懈褋褟 褨 斜褍写械 胁褋械 褖械 邪泻褌褍邪谢褜薪芯褞. 邪斜褋褌褉邪谐褍胁邪褌懈褋褟 褨 褋锌褉懈泄屑邪褌懈 泻薪懈谐褍 胁懈泻谢褞褔薪芯 褔械褉械蟹 褉芯蟹胁懈褌芯泻 谢褞写褋褜泻懈褏 褋褌芯褋褍薪泻褨胁 鈥� 褑械泄 褋褞卸械褌 屑械薪褨 胁懈写邪胁褋褟 薪褍写薪懈屑 褨 谐芯谢芯胁薪邪 谐械褉芯褩薪褟 屑械薪褨 斜邪泄写褍卸邪, 薪械褑褨泻邪胁邪.
褌芯屑褍, 褟 薪械 褉芯蟹褍屑褨褞 薪邪胁褨褖芯 褟 褑械 褔懈褌邪谢邪: 褖芯 褟, 褟泻 褔懈褌邪褔泻邪, 屑邪褞 芯褌褉懈屑邪褌懈 锌褨褋谢褟 锌褉芯褔懈褌邪薪芯谐芯. 褔械褉谐芯胁邪 锌褉懈蟹屑邪: 卸褨薪泻邪 褟泻 写芯谢褟 校泻褉邪褩薪懈, 校泻褉邪褩薪邪 褟泻 卸褨薪泻邪 鈥� 写胁邪 芯斜褉邪蟹懈, 褟泻褨 锌械褉械锌谢褨褌邪褞褌褜褋褟 褔械褉械蟹 褌褉邪胁屑懈, 斜褨谢褜, 薪械胁懈蟹薪邪褔械薪褨褋褌褜, 芯褔褨泻褍胁邪薪薪褟, 薪械锌褉懈泄薪褟褌褌褟 褨 褌邪泻 写邪谢褨, 褨 胁褋械 锌芯 褌芯屑褍 褋邪屑芯屑褍 泻芯谢褍. 邪薪邪谢褨蟹 褋械斜械 褔械褉械蟹 邪薪邪谢褨蟹 薪邪褑褨芯薪邪谢褜薪芯谐芯 鈥� 褌械卸 胁邪屑 褌邪泻芯谐芯 薪邪褋懈锌谢褟褌褜 胁 泻薪懈蟹褨. 褋泻芯褉褨褕 蟹邪 胁褋械, 褟 锌褉芯褋褌芯 锌械褉械薪邪褋懈褌懈谢邪褋褜 褌邪泻懈屑 芯斜褉邪蟹芯屑, 褏芯褔, 蟹薪芯胁褍 卸 褌邪泻懈, 写谢褟 褔邪褋褨胁 90-褏 褑械 斜褍谢芯 褋屑褨谢懈胁芯 褌邪 蟹褍褏胁邪谢芯.
芦袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟鈥β� 写褍卸械 褋懈谢褜薪芯 薪邪谐邪写邪谢懈 屑械薪褨 芦袦芯褋泻芯胁褨邪写褍禄 袗薪写褉褍褏芯胁懈褔邪. 锌芯褋褌屑芯写械褉薪褨蟹屑, 谐芯谢芯胁薪褨 谐械褉芯褩 锌芯械褌懈, 褦 芯斜褉邪蟹 锌械泻谢邪 褨 袛邪薪褌械, 芯斜褉邪蟹 锌芯胁械褉薪械薪薪褟 写芯写芯屑褍. 褟 薪械 褏芯褔褍 锌褉芯褌懈褋褌邪胁谢褟褌懈 褑褨 写胁褨 泻薪懈谐懈 芦卸褨薪芯褔懈泄禄 褨 芦褔芯谢芯胁褨褔懈泄禄 锌芯谐谢褟写, 褌懈屑 薪械 屑械薪褕, 褔械褉械蟹 褉褨蟹薪懈褑褞 谐械薪写械褉褍 褉褨蟹薪懈褑褞 褨 胁 褋胁褨褌芯褋锌褉懈泄薪褟褌褌褨 锌芯斜邪褔懈褌懈 屑芯卸薪邪, 邪 芯褌 锌械胁薪褨 褉芯蟹写褍屑懈 锌褉芯 褍泻褉邪褩薪褋褜泻褍 谢褨褌械褉邪褌褍褉褍, 谢褞写械泄, 薪邪褑褨褞 褑械 写褨泄褋薪芯 褋褏芯卸械. 褨 薪械 褌芯屑褍, 褖芯 褏褌芯褋褜 胁 泻芯谐芯褋褜 胁泻褉邪胁 褨写械褩, 邪 褌芯屑褍, 褖芯 胁 褌褨 褉芯泻懈 谢褞写褟屑 斜芯谢褨谢芯 褔械褉械蟹 胁邪卸谢懈胁械 薪邪褑褨芯薪邪谢褜薪芯-褌胁芯褉褔械, 褌邪 泄 写芯褋褨 斜芯谢懈褌褜.
褨 屑械薪褨 蟹写邪褦褌褜褋褟, 褖芯 袟邪斜褍卸泻芯 褌械锌械褉 褋褌邪谢邪 褌懈屑 芯斜褉邪蟹芯屑, 锌褉芯 褟泻懈泄 屑芯写薪芯 谐芯胁芯褉懈褌懈. 薪邪褔械, 褦 泻薪懈卸泻懈 屑邪褋芯胁褨, 邪 褦 械谢褨褌邪褉薪褨, 锌褉芯褌械 褌褉邪锌懈谢芯褋褜 褌邪泻, 褖芯 褋邪屑邪 卸 袟邪斜褍卸泻芯 褋褌邪谢邪 褌懈屑 屑邪褋芯胁懈屑 胁 褋胁芯褩泄 械谢褨褌邪褉薪芯褋褌褨.
褋泻芯褉褨褕 蟹邪 胁褋械, 褨薪褕褨 褌胁芯褉懈 锌邪薪褨 袨泻褋邪薪懈 屑械薪褨 屑芯卸褍褌褜 褋锌芯写芯斜邪褌懈褋褟 薪邪斜邪谐邪褌芯 斜褨谢褜褕械 (邪斜芯 薪褨). 褌芯屑褍, 褌褉械斜邪 褔懈褌邪褌懈 写邪谢褨.
March 8, 2016
The first full-five-star book I've read in 2016: a breakneck ride through twentieth-century Ukrainian history, the experience of writing in a neglected language, and a tortured relationship between two tortured Ukrainian artists in America, told in spectacular twisty-turny extended-sentence prose by a brilliant author and poet that more of you GR experimental fans should be reading.
Don't just unbury books, stop good ones getting buried in the first place! Which I've been wanting to say in a review for a couple of years, ever since someone on a forum recommended The Museum of Abandoned Secrets as one of the best things she'd read for a long time; I was blown away by the opening chapters, but 700pp+ tomes are not my forte as they are some of yours, and besides I wanted a better background in Russian lit before tackling the full thing. (If you're one of those who never looks beyond friend reviews, please read this anyway.) Particular potential for burying exists because most of Zabuzhko's English translations* are published by AmazonCrossing. fans will probably know that . Whilst some of their genre / popular stuff has found a sizeable audience, the few more literary and experimental texts have been starved of the oxygen of publicity, unmentioned in the blogs, lit journals and broadsheet reviews that cover works issued by respected, ethically unambiguous independent publishers, making sure at least some of the right readers are aware of them, and that they aren't consigned to low-star ratings from randomly-selected Vine members who never liked this sort of fiction in the first place, and drive-by Kindle Unlimited subscribers who took a punt on it. (A recent exception, which suggests things are changing a little for newly translated AmazonCrossing works, is South Korean novella Nowhere to Be Found which was longlisted for the and has been talked about on a couple of blogs.) Zabuzhko is a fantastic writer who, although lauded in Continental Europe with the Angelus Prize, should have as much respect and attention in English. Fieldwork in Ukrainian Sex is a narrative conscious of its own psychology, and I'm tempted to connect this probably financially rewarding, but otherwise unfortunate choice of publisher in the current global lingua franca with a compulsion to enact the following: even if you did, by some miracle, produce something in this language 鈥渒nocking out Goethe鈥檚 Faust,鈥� as one well-known literary critic by the name of Joseph Stalin would put it, then it would only lie around the libraries unread ... for who knows how many dozens of years until it began 鈥渃ooling off"...
if the stream of public attention doesn鈥檛 pick them up in time and carry them to the surface, they sink like stones to the bottom and become covered by mineral waxes that can never be scraped off, just like your unsold books which gather dust somewhere at home and in bookstores, this same thing has happened with most of Ukrainian literature.
Presciently - in fact talking of something else, she says there was even a response in鈥攚ow!鈥攖he Times Literary Supplement - but , including a write-up of this book, are paywalled and thus less influential than the lone [one-star] Amazon UK review.
I was tired of waiting for myself to get round to Museum of Abandoned Secrets and, in finishing it, finally earn the licence to harangue you about it; I was tired of waiting for the optimal time to try Kindle Unlimited for a month or two so I could read the much shorter Fieldwork inclusive with that. But fuck paying 拢7.99 for not very much of interest and timing things right, 拢1.98 for this book alone made a lot of sense: that's the right price from the reader/consumer viewpoint for a sub-200 page ebook you may only read once. Yes, I'd have rather paid a non-Amazon retailer the same, and yes I've heard the arguments in favour of novellas being as pricey as doorstops, but I think publishers, even those of stuff you love, should be a long way down the list of charity concerns after more urgent needs.
This is a ranting, angry, digressive book, so why not shoehorn a couple of paragraphs of my own rant in too?
Zabuzhko's volleys of anger are set apart from a hundred other rage-fuelled, more-or-less feminist fictionalised rants by the magnitude of her intellectual force and wit, and her (and her translator Halyna Hryn's) verbal dexterity. I rarely go in for this sort of very womany angry book, that swampiness that scares some people as if there were going to be a gorgon's head, not mere paper pages, between the covers. No gender has a monopoly on writing the fucked-up relationship story anyway; my favourite example is Alfred de Musset's [likewise under-read and brilliant] Confession of a Child of the Century. Zabuzhko's ranting is brilliant ranting of any type, and the quality of writing deserves to win out over any minor reservations over the topic. And personally, I'm somewhat more comfortable with feminist novels from other cultures because I don't feel as if their generalisations imply I had negative experiences I never actually did, unlike the Anglo-American texts that have alienated and annoyed me.
Fieldwork's semi-autobiographical narrative opens in a scuzzy kitchen, with decaying detail and violent metaphor that recalls the flats inhabited by The Young Ones or Withnail, boys who always had more interesting things to do than housework: the units' tacked-on doors determined to open every time you turn your back like a loose jaw on a paralyzed face鈥� both plants have the appearance of having been watered with sulfuric acid for the last three weeks. It's hard to say the unsaid these days, but I kept seeing it in this twenty-year-old novella, even when she surveys the cooking: these chickens always look much happier than live ones, simply radiating a deep blush of pleasure at the prospect of being eaten. This blistering sarcasm creates glamour from its very absence: in fact the possibilities are endless, but you just need one thing鈥攆or there to be someone sitting on the other side of their fucking counter, in which, incidentally, a colony of ants seems to have made a home, because every once in a while you鈥檝e got something crawling around on the Formica that really doesn鈥檛 belong in a hygienic American home, nor in a non-American one, come to think of it鈥攕omeone to whom you could serve all this good stuff as you smile your cover-girl smile. Those first few pages introduced me to a rhythm that would become familiar through the book: I would feel as if in the company of a kindred spirit, as if in reading, I was also speaking paragraphs I wish I could have written; then appear a some new facet of the narrator's mental torment or relationship dysfunction and her downright dreadful partner, far worse than my own experience, or on some entire other spectrum full of its own pitchblack corners.
Zabuzhko's narrator switches between first, second and third person as she speaks of herself, creating a stream of consciousness as comfortable as a pair of worn-in boots. Once observed, this technique is genius of a kick-oneself obviousness. To many frequent readers, or aspiring writers, of fiction, the occasional vanity thought-lapse into narrating oneself in third person is as much an ingrained part of mental activity as speaking of "I", or of exhorting oneself or generalising about self and supposed others as "you".
A man as muse to a female artist - including when the relationship is stormy - is an idea that's getting more exposure now than it used to, but I've never yet seen it so well described as by Zabuzhko: every poem was a delightful bastard baby of one prince or another with a bright star on his forehead, the star, of course, inevitably went out, the poem remained. With that metaphor she makes it sound more natural than with the genders the other, stereotypical, way round.
But bloody hell, what an awful man is this painter she falls for. Her reasons for being drawn to him - well beyond masturbation鈥� will give you neither poems nor children - are understandable to those who've experienced a love affair as a primal, fated encounter with a soulmate:
we became brother and sister long ago, long before we met, because it was in search of you, my love, clearly in search of you that these incomprehensibly opaque lines of poetry rushed out of me, barely catching their breath, through all the years of my chaotic youth...
it would be only with someone as screwed up as herself, no, far more screwed up鈥攊n a plaster cast, with draconian debts and trails of police summonses, my sorcerer-brother, we are of the same blood you and I...
this guy was digging the same grounds as I was, and the only one I鈥檇 ever known to do it ... better than me: deeper, more powerfully, and damn, just plain fearlessly... he simply floated along in the stream that I could access only occasionally.
The first one ready-made鈥攚hom she did not have to teach Ukrainian...
this was the first man from your world, the first with whom you could exchange not merely words, but simultaneously the entire boundlessness of shimmering secret treasure troves...
he鈥檚 one of yours, yours鈥攊n everything, a beast of the same species!
Such heights of intoxication often lead the lover to ignore what, in the absence of potent chemistry, would have been major reservations, but here there were more than most: from my list of highlighted quotes, the word "warn[ing]" jumps out again and again. Even to one who has ignored such things on a smaller scale, and who knows the process well, the magnitude of what can be disregarded is, at first glance astounding. (But through the author-narrator's analysis of her origins in a more sexist, more violent culture and family, she later explains it.) This story dispels another assumption, or over-generalisation, about such fiery relationships: it's very much not the case that the narrator is overwhelmed by continuous sexual desire for her paramour, it is not that wanting him physically becomes, for a time, almost synonymous with consciousness, as in many experiences and narratives of the madly-in-love. That early use of the word "brother" perhaps was telling. Though he is hardly brotherly of course, becoming hectoring and occasionally violent, and there are rows, verbally vicious on both sides, about plenty else as well as sex.
I've no idea how common is the following commonality, but I was taken aback here, seeing set down in someone else's writing for the first time something said to me several times - from decent people and from rotters. I thought that by now, I'd know if men telling their girlfriends they were brave was considered a widespread phenomenon (where there is no birth involved) - but there are always conversations and rubbishy articles one can miss. 鈥淵ou鈥檙e a brave woman!鈥濃€攁nd...鈥淚 see in you an ability to survive under any circumstances鈥�, exes say to her at different times in her life.
Joy and fear, America and Eastern Europe are invoked and mingled in their dealings: lovers galore, a wonderfully high-bouncing trampoline echoes Gatsby's epigraph; yet he passed through her territory like the Tatar hordes - and too often the latter, and fear, leading to a physical exhaustion - a feverish-nauseous trembling scattered over her entire body that hadn鈥檛 subsided for over a week - more draining than the typical physical overwhelm of falling in love.
It's interesting to finish writing this review whilst reading Elena Ferrante's quartet: Zabuzhko is more explicit in connecting violent relationships - and automatic assumptions about reproduction that, though near in history, may be alien to the twenty-first century secular Anglo-American - to her national history and culture; Ferrante almost never generalises, simply telling her characters' story - she shows without telling - but the same principle invades their relationships as soon as they get married, as described by Zabuzhko: 鈥渢ake me鈥� always means: 鈥渢ake me together with my childhood鈥�.
Oksana, more than the sensible Elena coolly analysing her environs, knows gothically passionate love as a literary meme that infected her: They never taught us, all our literature with its entire cult of tragic love鈥擨vanko and Marichka, Lukash and Mavka, my students were enthralled and declared Forest Song superior to Midsummer Night鈥檚 Dream, you bet鈥攖hey somehow forgot to warn us that in reality tragedies don鈥檛 look pretty. That death, no matter what form it takes, is first and foremost an ugly business.
That allusion apart, I was so taken with Zabuzhko's writing that I forgot I must be missing references to books I hadn't read, until her fellow Ukrainian Bulgakov was invoked in a dreamlike scene near the end: the demonic assembly constituted no clear threat, rather it gave the impression of a ritual somewhat reminiscent of a Brezhnev-era party meeting and in fact treated her with a kind of friendly acceptance,...only a gigantic cat, turning into a neon-blue shadow of a cat, hopped around from pedestal to pedestal for some time still before he too went up in smoke
Whilst I daresay some Ukrainians in the years between Communism and the Crimean crisis preferred not to dwell on their country's near-chronic history of living under a yoke or threat of one, stuck between the Russian bear and Europa, Zabuzhko's account of it (and mirrored in family and relationship) is anything but cowed, expressed with an irresistible vigour:
and what is there in Ukraine, Ukraine is Chronos chomping away at his children, tiny fingers and toes, I鈥檓 supposed to sit and wait for what, to suck a frog鈥檚 tit, or rather that of a menopausal diaspora gramps鈥攖he Antonovych prize?...
Eastern fatalism, oh yes鈥攖he Russians have it; we鈥檙e in worse shape, we, actually, are neither here nor there, Europe has managed to infect us with the raving fever of individual desire, faith in our personal 鈥淵es I can!鈥濃€攈owever, we never developed a foundation for such faith, those structures that might support that 鈥淚 can!鈥� and thus have tussled about for ages at the bottom of history. The lucky Americans she meets on her 90s writer-in-residencies (although they probably manage to allude to race with more tact than this denizen of a very white country that previously had little contact with culture outside the Eastern Bloc) are unfamiliar with subjugation to limitless, metaphysical evil, where there鈥檚 absolutely nothing in hell you can do鈥攚hen you grow up in a flat that is constantly bugged and surveilled and you know about it, so you learn to speak directly to an invisible audience: at times out loud, at times with gestures, and at times by saying nothing, or when the object of your first girlish infatuation turns out to be a fellow assigned to spy on you.
In four years of owning this Kindle, I'd never before encountered the message "you have reached the clipping limit for this item". That's how much I liked and wanted to quote this book. And that's why I don't have quotes from late in the book, where the author-narrator's father appears, a brutalised former prisoner (like his father before him), a man who tries to be reasonable, but has dodgy physical boundaries that have the effect of sexual abuse even if they don't fit its legal definitions. And... well - Ukraine - boundaries... obvious. The narrator, in her early thirties at the time of her emotionally destructive yet artistically inspiring relationship, evidently sees herself as an adult who did something stupid in which history had its role, like an addict who has now quit; she has too much strength and insight to be just a victim (if and when I get round to her later books, it'll be interesting to see how her themes developed in the ensuing years) but it was hard not to see this girl, another Ukrainian in the states, for less edifying reasons, as emblematic: a very young, scarcely eighteen-year-old prostitute with flowing chestnut-colored hair, attractive in that puppy-wet, bright, untarnished folk-song beauty that you can still find among girls in Volyhnia and Podillia鈥攁nd the poor thing, dead drunk:鈥� 鈥淪he鈥檚 still a child and has no idea what鈥檚 happening to her鈥�
The premise underlying this book sounds potentially defeatist (especially with the country continuing to wrestle its demons, but there is such strength and skill in the writing, that it feels anything but. I found it positively invigorating, because surely there is hope if one can express oneself as Zabuzhko does.
*A Kingdom Of Fallen Statues, essay and poetry collection, appears only to be available in a handful of American university libraries, and Amazon are scheduled to publish a book of Zabuzhko's short stories, Oh Sister, My Sister, in 2017. There are also bits and pieces in anthologies, which she alludes to in Fieldwork.
Indebted to two recent , when I was flailing about for inspiration on how to write about raw, personal books without getting enmired in lengthy comparisons with one's own experience. Didn't manage it quite so smoothly, but they helped.
Don't just unbury books, stop good ones getting buried in the first place! Which I've been wanting to say in a review for a couple of years, ever since someone on a forum recommended The Museum of Abandoned Secrets as one of the best things she'd read for a long time; I was blown away by the opening chapters, but 700pp+ tomes are not my forte as they are some of yours, and besides I wanted a better background in Russian lit before tackling the full thing. (If you're one of those who never looks beyond friend reviews, please read this anyway.) Particular potential for burying exists because most of Zabuzhko's English translations* are published by AmazonCrossing. fans will probably know that . Whilst some of their genre / popular stuff has found a sizeable audience, the few more literary and experimental texts have been starved of the oxygen of publicity, unmentioned in the blogs, lit journals and broadsheet reviews that cover works issued by respected, ethically unambiguous independent publishers, making sure at least some of the right readers are aware of them, and that they aren't consigned to low-star ratings from randomly-selected Vine members who never liked this sort of fiction in the first place, and drive-by Kindle Unlimited subscribers who took a punt on it. (A recent exception, which suggests things are changing a little for newly translated AmazonCrossing works, is South Korean novella Nowhere to Be Found which was longlisted for the and has been talked about on a couple of blogs.) Zabuzhko is a fantastic writer who, although lauded in Continental Europe with the Angelus Prize, should have as much respect and attention in English. Fieldwork in Ukrainian Sex is a narrative conscious of its own psychology, and I'm tempted to connect this probably financially rewarding, but otherwise unfortunate choice of publisher in the current global lingua franca with a compulsion to enact the following: even if you did, by some miracle, produce something in this language 鈥渒nocking out Goethe鈥檚 Faust,鈥� as one well-known literary critic by the name of Joseph Stalin would put it, then it would only lie around the libraries unread ... for who knows how many dozens of years until it began 鈥渃ooling off"...
if the stream of public attention doesn鈥檛 pick them up in time and carry them to the surface, they sink like stones to the bottom and become covered by mineral waxes that can never be scraped off, just like your unsold books which gather dust somewhere at home and in bookstores, this same thing has happened with most of Ukrainian literature.
Presciently - in fact talking of something else, she says there was even a response in鈥攚ow!鈥攖he Times Literary Supplement - but , including a write-up of this book, are paywalled and thus less influential than the lone [one-star] Amazon UK review.
I was tired of waiting for myself to get round to Museum of Abandoned Secrets and, in finishing it, finally earn the licence to harangue you about it; I was tired of waiting for the optimal time to try Kindle Unlimited for a month or two so I could read the much shorter Fieldwork inclusive with that. But fuck paying 拢7.99 for not very much of interest and timing things right, 拢1.98 for this book alone made a lot of sense: that's the right price from the reader/consumer viewpoint for a sub-200 page ebook you may only read once. Yes, I'd have rather paid a non-Amazon retailer the same, and yes I've heard the arguments in favour of novellas being as pricey as doorstops, but I think publishers, even those of stuff you love, should be a long way down the list of charity concerns after more urgent needs.
This is a ranting, angry, digressive book, so why not shoehorn a couple of paragraphs of my own rant in too?
Zabuzhko's volleys of anger are set apart from a hundred other rage-fuelled, more-or-less feminist fictionalised rants by the magnitude of her intellectual force and wit, and her (and her translator Halyna Hryn's) verbal dexterity. I rarely go in for this sort of very womany angry book, that swampiness that scares some people as if there were going to be a gorgon's head, not mere paper pages, between the covers. No gender has a monopoly on writing the fucked-up relationship story anyway; my favourite example is Alfred de Musset's [likewise under-read and brilliant] Confession of a Child of the Century. Zabuzhko's ranting is brilliant ranting of any type, and the quality of writing deserves to win out over any minor reservations over the topic. And personally, I'm somewhat more comfortable with feminist novels from other cultures because I don't feel as if their generalisations imply I had negative experiences I never actually did, unlike the Anglo-American texts that have alienated and annoyed me.
Fieldwork's semi-autobiographical narrative opens in a scuzzy kitchen, with decaying detail and violent metaphor that recalls the flats inhabited by The Young Ones or Withnail, boys who always had more interesting things to do than housework: the units' tacked-on doors determined to open every time you turn your back like a loose jaw on a paralyzed face鈥� both plants have the appearance of having been watered with sulfuric acid for the last three weeks. It's hard to say the unsaid these days, but I kept seeing it in this twenty-year-old novella, even when she surveys the cooking: these chickens always look much happier than live ones, simply radiating a deep blush of pleasure at the prospect of being eaten. This blistering sarcasm creates glamour from its very absence: in fact the possibilities are endless, but you just need one thing鈥攆or there to be someone sitting on the other side of their fucking counter, in which, incidentally, a colony of ants seems to have made a home, because every once in a while you鈥檝e got something crawling around on the Formica that really doesn鈥檛 belong in a hygienic American home, nor in a non-American one, come to think of it鈥攕omeone to whom you could serve all this good stuff as you smile your cover-girl smile. Those first few pages introduced me to a rhythm that would become familiar through the book: I would feel as if in the company of a kindred spirit, as if in reading, I was also speaking paragraphs I wish I could have written; then appear a some new facet of the narrator's mental torment or relationship dysfunction and her downright dreadful partner, far worse than my own experience, or on some entire other spectrum full of its own pitchblack corners.
Zabuzhko's narrator switches between first, second and third person as she speaks of herself, creating a stream of consciousness as comfortable as a pair of worn-in boots. Once observed, this technique is genius of a kick-oneself obviousness. To many frequent readers, or aspiring writers, of fiction, the occasional vanity thought-lapse into narrating oneself in third person is as much an ingrained part of mental activity as speaking of "I", or of exhorting oneself or generalising about self and supposed others as "you".
A man as muse to a female artist - including when the relationship is stormy - is an idea that's getting more exposure now than it used to, but I've never yet seen it so well described as by Zabuzhko: every poem was a delightful bastard baby of one prince or another with a bright star on his forehead, the star, of course, inevitably went out, the poem remained. With that metaphor she makes it sound more natural than with the genders the other, stereotypical, way round.
But bloody hell, what an awful man is this painter she falls for. Her reasons for being drawn to him - well beyond masturbation鈥� will give you neither poems nor children - are understandable to those who've experienced a love affair as a primal, fated encounter with a soulmate:
we became brother and sister long ago, long before we met, because it was in search of you, my love, clearly in search of you that these incomprehensibly opaque lines of poetry rushed out of me, barely catching their breath, through all the years of my chaotic youth...
it would be only with someone as screwed up as herself, no, far more screwed up鈥攊n a plaster cast, with draconian debts and trails of police summonses, my sorcerer-brother, we are of the same blood you and I...
this guy was digging the same grounds as I was, and the only one I鈥檇 ever known to do it ... better than me: deeper, more powerfully, and damn, just plain fearlessly... he simply floated along in the stream that I could access only occasionally.
The first one ready-made鈥攚hom she did not have to teach Ukrainian...
this was the first man from your world, the first with whom you could exchange not merely words, but simultaneously the entire boundlessness of shimmering secret treasure troves...
he鈥檚 one of yours, yours鈥攊n everything, a beast of the same species!
Such heights of intoxication often lead the lover to ignore what, in the absence of potent chemistry, would have been major reservations, but here there were more than most: from my list of highlighted quotes, the word "warn[ing]" jumps out again and again. Even to one who has ignored such things on a smaller scale, and who knows the process well, the magnitude of what can be disregarded is, at first glance astounding. (But through the author-narrator's analysis of her origins in a more sexist, more violent culture and family, she later explains it.) This story dispels another assumption, or over-generalisation, about such fiery relationships: it's very much not the case that the narrator is overwhelmed by continuous sexual desire for her paramour, it is not that wanting him physically becomes, for a time, almost synonymous with consciousness, as in many experiences and narratives of the madly-in-love. That early use of the word "brother" perhaps was telling. Though he is hardly brotherly of course, becoming hectoring and occasionally violent, and there are rows, verbally vicious on both sides, about plenty else as well as sex.
I've no idea how common is the following commonality, but I was taken aback here, seeing set down in someone else's writing for the first time something said to me several times - from decent people and from rotters. I thought that by now, I'd know if men telling their girlfriends they were brave was considered a widespread phenomenon (where there is no birth involved) - but there are always conversations and rubbishy articles one can miss. 鈥淵ou鈥檙e a brave woman!鈥濃€攁nd...鈥淚 see in you an ability to survive under any circumstances鈥�, exes say to her at different times in her life.
Joy and fear, America and Eastern Europe are invoked and mingled in their dealings: lovers galore, a wonderfully high-bouncing trampoline echoes Gatsby's epigraph; yet he passed through her territory like the Tatar hordes - and too often the latter, and fear, leading to a physical exhaustion - a feverish-nauseous trembling scattered over her entire body that hadn鈥檛 subsided for over a week - more draining than the typical physical overwhelm of falling in love.
It's interesting to finish writing this review whilst reading Elena Ferrante's quartet: Zabuzhko is more explicit in connecting violent relationships - and automatic assumptions about reproduction that, though near in history, may be alien to the twenty-first century secular Anglo-American - to her national history and culture; Ferrante almost never generalises, simply telling her characters' story - she shows without telling - but the same principle invades their relationships as soon as they get married, as described by Zabuzhko: 鈥渢ake me鈥� always means: 鈥渢ake me together with my childhood鈥�.
Oksana, more than the sensible Elena coolly analysing her environs, knows gothically passionate love as a literary meme that infected her: They never taught us, all our literature with its entire cult of tragic love鈥擨vanko and Marichka, Lukash and Mavka, my students were enthralled and declared Forest Song superior to Midsummer Night鈥檚 Dream, you bet鈥攖hey somehow forgot to warn us that in reality tragedies don鈥檛 look pretty. That death, no matter what form it takes, is first and foremost an ugly business.
That allusion apart, I was so taken with Zabuzhko's writing that I forgot I must be missing references to books I hadn't read, until her fellow Ukrainian Bulgakov was invoked in a dreamlike scene near the end: the demonic assembly constituted no clear threat, rather it gave the impression of a ritual somewhat reminiscent of a Brezhnev-era party meeting and in fact treated her with a kind of friendly acceptance,...only a gigantic cat, turning into a neon-blue shadow of a cat, hopped around from pedestal to pedestal for some time still before he too went up in smoke
Whilst I daresay some Ukrainians in the years between Communism and the Crimean crisis preferred not to dwell on their country's near-chronic history of living under a yoke or threat of one, stuck between the Russian bear and Europa, Zabuzhko's account of it (and mirrored in family and relationship) is anything but cowed, expressed with an irresistible vigour:
and what is there in Ukraine, Ukraine is Chronos chomping away at his children, tiny fingers and toes, I鈥檓 supposed to sit and wait for what, to suck a frog鈥檚 tit, or rather that of a menopausal diaspora gramps鈥攖he Antonovych prize?...
Eastern fatalism, oh yes鈥攖he Russians have it; we鈥檙e in worse shape, we, actually, are neither here nor there, Europe has managed to infect us with the raving fever of individual desire, faith in our personal 鈥淵es I can!鈥濃€攈owever, we never developed a foundation for such faith, those structures that might support that 鈥淚 can!鈥� and thus have tussled about for ages at the bottom of history. The lucky Americans she meets on her 90s writer-in-residencies (although they probably manage to allude to race with more tact than this denizen of a very white country that previously had little contact with culture outside the Eastern Bloc) are unfamiliar with subjugation to limitless, metaphysical evil, where there鈥檚 absolutely nothing in hell you can do鈥攚hen you grow up in a flat that is constantly bugged and surveilled and you know about it, so you learn to speak directly to an invisible audience: at times out loud, at times with gestures, and at times by saying nothing, or when the object of your first girlish infatuation turns out to be a fellow assigned to spy on you.
In four years of owning this Kindle, I'd never before encountered the message "you have reached the clipping limit for this item". That's how much I liked and wanted to quote this book. And that's why I don't have quotes from late in the book, where the author-narrator's father appears, a brutalised former prisoner (like his father before him), a man who tries to be reasonable, but has dodgy physical boundaries that have the effect of sexual abuse even if they don't fit its legal definitions. And... well - Ukraine - boundaries... obvious. The narrator, in her early thirties at the time of her emotionally destructive yet artistically inspiring relationship, evidently sees herself as an adult who did something stupid in which history had its role, like an addict who has now quit; she has too much strength and insight to be just a victim (if and when I get round to her later books, it'll be interesting to see how her themes developed in the ensuing years) but it was hard not to see this girl, another Ukrainian in the states, for less edifying reasons, as emblematic: a very young, scarcely eighteen-year-old prostitute with flowing chestnut-colored hair, attractive in that puppy-wet, bright, untarnished folk-song beauty that you can still find among girls in Volyhnia and Podillia鈥攁nd the poor thing, dead drunk:鈥� 鈥淪he鈥檚 still a child and has no idea what鈥檚 happening to her鈥�
The premise underlying this book sounds potentially defeatist (especially with the country continuing to wrestle its demons, but there is such strength and skill in the writing, that it feels anything but. I found it positively invigorating, because surely there is hope if one can express oneself as Zabuzhko does.
*A Kingdom Of Fallen Statues, essay and poetry collection, appears only to be available in a handful of American university libraries, and Amazon are scheduled to publish a book of Zabuzhko's short stories, Oh Sister, My Sister, in 2017. There are also bits and pieces in anthologies, which she alludes to in Fieldwork.
Indebted to two recent , when I was flailing about for inspiration on how to write about raw, personal books without getting enmired in lengthy comparisons with one's own experience. Didn't manage it quite so smoothly, but they helped.
April 27, 2022
this is some eastern european feminist badassery. do give it a try if you enjoy forceful stream of consciousness narratives and frantic alternations between points of view, as well as (poetic) explorations of gender dynamics, national identity and cultural displacement, from an anticolonial perspective.
but you, sweetness, you have no choice not because you're incapable of switching languages 鈥撎齳ou could do that splendidly with a little effort 鈥� but because a curse has been placed on you to be faithful to all those who have died, all those who could have switched languages just as easily as you 鈥撎齊ussian, Polish, some even German, and could have lived entirely different lives, but instead hurled themselves like firelogs into the dying embers of the Ukrainian with nothing to fucking show for it but mangled destinies and unread books 鈥� and yet today there is you, unable to step over their corpses and go on your merry way, simply unable, tiny sparks of their presence keep dropping into your life here and there, into the ashes of mundane daily existence
but you, sweetness, you have no choice not because you're incapable of switching languages 鈥撎齳ou could do that splendidly with a little effort 鈥� but because a curse has been placed on you to be faithful to all those who have died, all those who could have switched languages just as easily as you 鈥撎齊ussian, Polish, some even German, and could have lived entirely different lives, but instead hurled themselves like firelogs into the dying embers of the Ukrainian with nothing to fucking show for it but mangled destinies and unread books 鈥� and yet today there is you, unable to step over their corpses and go on your merry way, simply unable, tiny sparks of their presence keep dropping into your life here and there, into the ashes of mundane daily existence
April 28, 2022
Badania terenowe nad ukrai艅skim seksem to b艂yskotliwa, uwa偶na wiwisekcja sytuacji kobiet w postsowieckim spo艂ecze艅stwie, kt贸ra prowokuje do rozmy艣la艅 o kompleksach, nie tylko ukrai艅skich, ale tak偶e o kompleksach spo艂ecze艅stw by艂ego bloku wschodniego. Zabu偶ko w g臋stej, pe艂nej drapie偶no艣ci narracji przygl膮da si臋 sobie samej, swoim do艣wiadczeniom, swojej trudnej przesz艂o艣ci i relacjom z m臋偶czyznami.
Badania to r贸wnie偶, a mo偶e przede wszystkim, ukazanie jak system totalitarny degraduje i niszczy mentalnie i kulturowo cz艂owieka, jak ogromne pi臋tno odciska na przecie偶 tak bardzo prywatn膮 sfer臋 鈥� sfer臋 intymn膮, skazuj膮c j膮 na stereotypizacj臋 i bylejako艣膰.
Czytajcie Zabu偶ko, czytajcie literatur臋 naszych s膮siad贸w, bo mo偶emy przejrze膰 si臋 w niej jak w lustrze.
Badania to r贸wnie偶, a mo偶e przede wszystkim, ukazanie jak system totalitarny degraduje i niszczy mentalnie i kulturowo cz艂owieka, jak ogromne pi臋tno odciska na przecie偶 tak bardzo prywatn膮 sfer臋 鈥� sfer臋 intymn膮, skazuj膮c j膮 na stereotypizacj臋 i bylejako艣膰.
Czytajcie Zabu偶ko, czytajcie literatur臋 naszych s膮siad贸w, bo mo偶emy przejrze膰 si臋 w niej jak w lustrze.
September 17, 2022
袙褋褨 锌懈褕褍褌褜, 褖芯 褑褟 泻薪懈卸泻邪 胁 褋褌懈谢褨 "锌芯褌褨泻 褋胁褨写芯屑芯褋褌褨", 写芯胁谐褨 褉械褔械薪薪褟 薪邪 褌褉懈 褋褌芯褉褨薪泻懈, 褟泻褨 蟹屑褍褕褍褞褌褜 褌械斜械 锌芯褋褌褨泄薪芯 斜褍褌懈 褍 薪邪锌褉褍蟹褨.
袗谢械 写谢褟 屑械薪械 褑械 斜褍胁 薪械 锌芯褌褨泻 褋胁褨写芯屑芯褋褌褨, 邪 褉芯蟹锌芯胁褨写褨 胁薪芯褔褨 蟹邪 褔邪褦屑 褔懈 锌懈胁芯屑. 孝邪泻 薪褨斜懈 褌懈 薪邪褉械褕褌褨 胁褨写泻褉懈胁褋褟 写褉褍谐芯胁褨 褨 蟹 褌械斜械 褨 芯斜褉邪蟹懈, 褨 褋锌芯谐邪写懈, 褨 锌械褉械卸懈胁邪薪薪褟 锌芯谢懈谢懈褋褟 褟泻 蟹 泻褉邪薪褍 胁芯写邪. 袉 褌懈 锌械褉械褋褌褉懈斜褍褦褕, 褌邪屑 褍褌芯褔薪褞褦褕, 蟹谐邪写褍褦褕, 胁懈锌褉邪胁谢褟褦褕褋褟, 邪谢械 胁褋械 褑械 芯写薪械 写芯胁谐械 褉械褔械薪薪褟, 褋锌褉芯斜邪 芯褎芯褉屑懈褌懈 写褍屑泻褍, 泻芯谢懈 薪邪胁泻芯谢芯 褋褌褨谢褜泻懈 胁褋褜芯谐芯 泻褉褍褌懈褌褜褋褟 胁 谐芯谢芯胁褨.
携 褔懈褌邪谢邪 胁褋褨 褑褨 写芯胁谐褨 褉械褔械薪薪褟 褉芯蟹褋谢邪斜谢械薪芯, 薪械 褌褉懈屑邪褞褔懈 胁 谐芯谢芯胁褨 "邪 褕芯 卸 褌邪屑 斜褍谢芯 薪邪 锌芯褔邪褌泻褍", 斜芯 胁芯薪芯 薪械 谐褉邪褦 褉芯谢褨, 褖芯 褌邪屑 斜褍谢芯 薪邪 锌芯褔邪褌泻褍. 袚芯谢芯胁薪械 褖芯 褌邪屑 写邪谢褨.
袨写薪懈屑 褋谢芯胁芯屑 褋锌芯写芯斜邪谢芯褋褟, 褏芯褔邪 褑褟 锌芯写邪褔邪 芯写薪芯蟹薪邪褔薪芯 薪械 写谢褟 胁褋褨褏.
袗谢械 写谢褟 屑械薪械 褑械 斜褍胁 薪械 锌芯褌褨泻 褋胁褨写芯屑芯褋褌褨, 邪 褉芯蟹锌芯胁褨写褨 胁薪芯褔褨 蟹邪 褔邪褦屑 褔懈 锌懈胁芯屑. 孝邪泻 薪褨斜懈 褌懈 薪邪褉械褕褌褨 胁褨写泻褉懈胁褋褟 写褉褍谐芯胁褨 褨 蟹 褌械斜械 褨 芯斜褉邪蟹懈, 褨 褋锌芯谐邪写懈, 褨 锌械褉械卸懈胁邪薪薪褟 锌芯谢懈谢懈褋褟 褟泻 蟹 泻褉邪薪褍 胁芯写邪. 袉 褌懈 锌械褉械褋褌褉懈斜褍褦褕, 褌邪屑 褍褌芯褔薪褞褦褕, 蟹谐邪写褍褦褕, 胁懈锌褉邪胁谢褟褦褕褋褟, 邪谢械 胁褋械 褑械 芯写薪械 写芯胁谐械 褉械褔械薪薪褟, 褋锌褉芯斜邪 芯褎芯褉屑懈褌懈 写褍屑泻褍, 泻芯谢懈 薪邪胁泻芯谢芯 褋褌褨谢褜泻懈 胁褋褜芯谐芯 泻褉褍褌懈褌褜褋褟 胁 谐芯谢芯胁褨.
携 褔懈褌邪谢邪 胁褋褨 褑褨 写芯胁谐褨 褉械褔械薪薪褟 褉芯蟹褋谢邪斜谢械薪芯, 薪械 褌褉懈屑邪褞褔懈 胁 谐芯谢芯胁褨 "邪 褕芯 卸 褌邪屑 斜褍谢芯 薪邪 锌芯褔邪褌泻褍", 斜芯 胁芯薪芯 薪械 谐褉邪褦 褉芯谢褨, 褖芯 褌邪屑 斜褍谢芯 薪邪 锌芯褔邪褌泻褍. 袚芯谢芯胁薪械 褖芯 褌邪屑 写邪谢褨.
袨写薪懈屑 褋谢芯胁芯屑 褋锌芯写芯斜邪谢芯褋褟, 褏芯褔邪 褑褟 锌芯写邪褔邪 芯写薪芯蟹薪邪褔薪芯 薪械 写谢褟 胁褋褨褏.
May 30, 2015
This book is amazing. It took a little bit to get into. I struggled in the first 50 pages. You can not skim this book. Don't even try. The prose style is rather unforgiving, but that really is the point. The point is to chew it. To go slowly. To go back and forth over sentences and phrases.
This is a painful, occasionally hard to follow narrative of the grotesque end of a love affair punctuated with small and devastatingly perceptive mini-treatises on writing, art, trust in other humans, the state of being a writer trapped in a native language that no one speaks, the state (as Zabuzhko describes it) of being trapped between non-existence and an existence that kills you.
In another review, someone else wrote "袦邪斜褍褌褜 褑褞 泻薪懈卸泻褍 斜褍谢芯 胁邪褉褌芯 褔懈褌邪褌懈 褉芯泻褨胁 10 薪邪蟹邪写 - 斜芯 蟹邪褉邪蟹, 薪械 锌褉芯 褍泻褉邪褩薪褑褨胁 褑褟 泻薪懈卸泻邪 - 褟 薪械 蟹薪邪褞 褌邪泻懈褏 褍泻褉邪褩薪褑褨胁, 褟泻 胁 褑褨泄 泻薪懈卸褑褨." Oh, but I do. I know all of them. They are all people I have met. They are all people I recognized from my life in Ukraine. They are all people I recognize from my life in the US. They are all people I recognize in myself.
I think I won't be satisfied until I read this at least 2 more times.
This is a painful, occasionally hard to follow narrative of the grotesque end of a love affair punctuated with small and devastatingly perceptive mini-treatises on writing, art, trust in other humans, the state of being a writer trapped in a native language that no one speaks, the state (as Zabuzhko describes it) of being trapped between non-existence and an existence that kills you.
In another review, someone else wrote "袦邪斜褍褌褜 褑褞 泻薪懈卸泻褍 斜褍谢芯 胁邪褉褌芯 褔懈褌邪褌懈 褉芯泻褨胁 10 薪邪蟹邪写 - 斜芯 蟹邪褉邪蟹, 薪械 锌褉芯 褍泻褉邪褩薪褑褨胁 褑褟 泻薪懈卸泻邪 - 褟 薪械 蟹薪邪褞 褌邪泻懈褏 褍泻褉邪褩薪褑褨胁, 褟泻 胁 褑褨泄 泻薪懈卸褑褨." Oh, but I do. I know all of them. They are all people I have met. They are all people I recognized from my life in Ukraine. They are all people I recognize from my life in the US. They are all people I recognize in myself.
I think I won't be satisfied until I read this at least 2 more times.
October 18, 2018
袨泻褋邪薪邪 小褌械褎邪薪褨胁薪邪 蟹谐邪写褍胁邪谢邪, 褖芯 褍 泻芯屑械薪褌邪褉褟褏 写芯 褑褨褦褩 泻薪懈卸泻懈 褔懈褌邪褔褨 褔邪褋褌芯 薪邪褉褨泻邪褞褌褜 薪邪 薪械屑芯卸谢懈胁褨褋褌褜 胁褌褉懈屑邪褌懈 褍胁邪谐褍 薪邪 褌邪泻懈褏 写芯胁谐懈褏 褉械褔械薪薪褟褏 褍 褌械泻褋褌褨 褨 写褨谐薪芯褋褌褍胁邪谢邪 褌褍褌 褋械褉泄芯蟹薪械 *褋谢懈褕泻芯屑 屑薪芯谐芯 斜褍泻邪胁*-胁褨写褏懈谢械薪薪褟 褉芯斜芯褌懈 屑芯蟹泻褍 锌芯泻芯谢褨薪薪褟 Twitter. 携 褍褌褉懈屑邪褞褋褟 胁褨写 胁褋褌邪薪芯胁谢械薪薪褟 写褨邪谐薪芯蟹褨胁, 谢懈褕械 蟹褨蟹薪邪褞褋褟, 褖芯 胁褨写胁褨写褍胁邪薪薪褟 谢械泻褑褨泄 褨 写懈褋泻褍褋褨泄 蟹邪 褍褔邪褋褌褨 袨泻褋邪薪懈 袟邪斜褍卸泻芯 写芯斜褉褟褔械 谐芯褌褍褞褌褜 写芯 蟹褍褋褌褉褨褔褨 蟹 褩褩 褌械泻褋褌邪屑懈. 孝邪 胁褋械 芯写薪芯 薪械 写芯 泻褨薪褑褟)
袉 褖械 芯写薪邪 锌芯褉邪写邪: 褔懈褌邪褌懈 泻薪懈谐褍 泻褉邪褖械 蟹邪 芯写懈薪 锌褉懈褋褨褋褌. 笑械泄 锌芯褌褨泻 褋胁褨写芯屑芯褋褌褨 薪械锌芯屑褨褌薪芯 蟹邪褌褟谐褍褦, 蟹邪胁芯褉芯卸褍褦 屑芯胁芯褞 (褍褟胁谢褟褞,褟泻 写械褟泻邪 谢械泻褋懈泻邪 褕芯泻褍胁邪谢邪 谢褞写械泄 褍 90-褌褨) 褨 褋褌懈谢械屑, 褌邪 褟泻褖芯 褌懈 锌械褉械褉懈胁邪褦褕褋褟, 褌芯 锌芯褌褨屑 褋泻谢邪写薪芯 锌芯胁械褉薪褍褌懈褋褟 薪邪蟹邪写 褍 褌械泻褋褌 褨 蟹薪芯胁褍 胁褏芯锌懈褌懈 蟹邪 褏胁褨褋褌 褋褞卸械褌.
袉 褖械 芯写薪邪 锌芯褉邪写邪: 褔懈褌邪褌懈 泻薪懈谐褍 泻褉邪褖械 蟹邪 芯写懈薪 锌褉懈褋褨褋褌. 笑械泄 锌芯褌褨泻 褋胁褨写芯屑芯褋褌褨 薪械锌芯屑褨褌薪芯 蟹邪褌褟谐褍褦, 蟹邪胁芯褉芯卸褍褦 屑芯胁芯褞 (褍褟胁谢褟褞,褟泻 写械褟泻邪 谢械泻褋懈泻邪 褕芯泻褍胁邪谢邪 谢褞写械泄 褍 90-褌褨) 褨 褋褌懈谢械屑, 褌邪 褟泻褖芯 褌懈 锌械褉械褉懈胁邪褦褕褋褟, 褌芯 锌芯褌褨屑 褋泻谢邪写薪芯 锌芯胁械褉薪褍褌懈褋褟 薪邪蟹邪写 褍 褌械泻褋褌 褨 蟹薪芯胁褍 胁褏芯锌懈褌懈 蟹邪 褏胁褨褋褌 褋褞卸械褌.
May 25, 2020
啸芯褌褨谢芯褋褟 斜懈 锌芯褔邪褌懈 褉械胁褜褞 薪邪 褑褞 泻薪懈谐褍 褏胁懈谢懈薪芯褞 屑芯胁褔邪薪薪褟 蟹邪 芯斜褉邪蟹芯屑 褩褩 邪胁褌芯褉泻懈. 袗 褖械 蟹邪 褋褍褔邪褋薪芯褞 褍泻褉邪褩薪褋褜泻芯褞 谢褨褌械褉邪褌褍褉芯褞, 写邪泄 袘芯谐 薪械 胁褋褟 胁芯薪邪 褌邪泻邪. 袧邪 113 褋褌芯褉褨薪泻邪褏 褍屑褨褖械薪邪 褌邪泻邪 泻褨谢褜泻褨褋褌褜 锌邪褌芯谢芯谐褨泄 褉褨蟹薪芯谐芯 锌芯褉褟写泻褍, 褖芯 褌褨谢褜泻懈 褕邪谢械薪邪 褖褨谢褜薪褨褋褌褜 褌械泻褋褌褍 蟹邪 胁褨写褋褍褌薪芯褋褌褨 褉芯蟹写褨谢芯胁懈褏 蟹薪邪泻褨胁 写芯蟹胁芯谢懈谢邪 褩褏 褋褟泻-褌邪泻 胁锌褏薪褍褌懈. 袣薪懈谐邪 薪邪锌懈褋邪薪邪 1996褉, 褨 褑械 胁邪卸谢懈胁芯, 邪写卸械 褔邪褋褌泻芯胁芯 谢褨褌械褉邪褌褍褉薪芯-薪械泻褉芯褎褨谢褜褋褜褋泻褨 薪芯褌泻懈 屑芯卸薪邪 褋锌懈褋邪褌懈 薪邪 褔邪褋芯胁芯 泻褍谢褜褌褍褉薪褍 写械褎芯褉屑邪褑褨褞. 孝芯卸 锌芯褩褏邪谢懈!
袣薪懈谐邪 褉芯蟹锌芯胁褨写邪褦 胁 屑邪薪械褉褨 芦锌芯褌芯泻褍 褋胁褨写芯屑芯褋褌褨禄 锌褉芯 写械泻褨谢褜泻邪 写薪褨胁 卸懈褌褌褟 褍泻褉邪褩薪褋褜泻芯褩 锌芯械褌械褋懈 褌邪 谢褨褌械褉邪褌褍褉芯蟹薪邪胁褑褨 胁 袨泻褋褎芯褉写褨, 褟泻褨 锌褉芯褏芯写褟褌褜 蟹邪 褉芯蟹写褍屑邪屑懈 锌褉芯 褩褩 卸懈褌褌褟, 屑懈薪褍谢褨 褋褌芯褋褍薪泻懈, 写懈褌懈薪褋褌胁芯, 写芯谢褞 褍泻褉邪褩薪褋褜泻芯褩 薪邪褑褨褩 褌邪 泻褍谢褜褌褍褉懈. 小锌芯泄谢械褉! 袧邪蟹胁邪 薪褨褔芯谐芯 褋锌褨谢褜薪芯谐芯 褨蟹 褋械泻褋芯屑 薪械 屑邪褦 (褏褨斜邪 褖芯 邪胁褌芯褉泻邪 胁 褌邪泻懈泄 泻谢褨泻斜械泄褌褨胁褋褜泻懈泄 褋锌芯褋褨斜 芯褏邪褉邪泻褌械褉懈蟹褍胁邪谢邪 褋褌邪褌褜). 孝械锌械褉 锌芯 褔械褉蟹褨: 褉芯蟹写褍屑懈 锌褉芯 卸懈褌褌褟 - 卸懈褌褌褟 屑械褉蟹械薪薪械, 胁芯薪邪 褋邪屑邪 屑械褉蟹械薪薪邪, 褋褌邪褉邪 褌邪 锌芯薪褨胁械褔械薪邪 胁褋褨屑, 锌芯褔懈薪邪褞褔懈 胁褨写 袪邪写褟薪褋褜泻芯谐芯 褋芯褞蟹褍 (蟹褉芯斜懈胁 褨蟹 胁褋褨褏 褍泻褉邪褩薪褑褨胁 褉邪斜褨胁-薪褨泻褔械屑), 写芯 褌邪褌泻邪, 褟泻懈泄 褍 褨薪褑械褋褌薪褨泄 屑邪薪械褉褨 褋锌褉芯胁芯泻褍胁邪胁 胁褨写褏懈谢械薪薪褟 褋械泻褋褍邪谢褜薪芯谐芯 锌谢邪薪褍 褨 褦 锌褉懈褔懈薪芯褩 褩褩 锌褉芯斜谢械屑 褍 褋褌芯褋褍薪泻邪褏.
袪芯蟹写褍屑懈 锌褉芯 屑懈薪褍谢褨 褋褌芯褋褍薪泻懈: 褟 泄芯谐芯 谢褞斜懈谢邪, 邪谢械 胁褨薪 屑械薪械 蟹褉芯斜懈胁 褎褉懈谐褨写薪芯褞 - 薪褍写芯褌薪懈泄 谢械泄褌屑芯褌懈胁 胁褨泻褌懈屑薪芯谐芯 薪锟斤拷褉邪褌懈胁褍, 褟泻芯屑褍 蟹薪邪褏芯写懈褌褜褋褟 斜械蟹泻褨薪械褔薪邪 泻褨谢褜泻褨褋褌褜 胁懈锌褉邪胁写芯胁褍胁邪薪褜: 蟹覒胁邪谢褌芯胁邪薪邪 泻褉邪褩薪邪, 蟹覒胁邪谢褌芯胁邪薪邪 泻褍谢褜褌褍褉邪, 蟹覒胁邪谢褌芯胁邪薪邪 锌褋懈褏褨泻邪 (褨 薪褨褏褌芯 胁 褩褩 卸懈褌褌褨 褩褩 薪械 泻芯褏邪胁, 褟泻 胁芯薪邪 褏芯褌褨谢邪, 褨 屑邪屑邪 褩褩 锌褉芯 泻谢褨褌芯褉 薪械 蟹薪邪谢邪, 斜芯 屑邪谢邪 谐芯谢芯写薪械 写懈褌懈薪褋褌胁芯 - 胁褋械 锌芯胁鈥樠徯沸靶叫�). 袪芯蟹写褍屑懈 锌褉芯 写芯谢褞 褍泻褉邪褩薪褋褜泻芯褩 薪邪褑褨褩 褌邪 泻褍谢褜褌褍褉懈 - 褌褍褌 褟 芯斜屑械卸褍褋褜 褑懈褌邪褌芯褞 蟹 泻薪懈谐懈 芦胁蟹邪谐邪谢褨, 胁褋械, 褖芯 褍泻褉邪褩薪褑褨 蟹写邪褌薪褨 锌褉芯 褋械斜械 锌芯胁褨写邪褌懈, - 褌芯 褟泻, 褋泻褨谢褜泻懈, 褨 薪邪 褟泻懈泄 褋锌芯褋褨斜 褩褏 斜懈谢懈...禄. 袉 褑械 胁褋械! 携泻褖芯 胁胁邪卸邪褌懈, 褖芯 褍 胁褍褋褌邪 谐械褉芯褩薪褨 邪胁褌芯褉泻邪 胁泻谢邪写邪褦 褋胁芯褩 写褍屑泻懈, 褌芯 锌褉械写褋褌邪胁薪懈泻芯屑 褍泻褉邪褩薪褋褜泻芯谐芯 泻褍谢褜褌褍褉薪芯谐芯 胁褨写褉芯写卸械薪薪褟 褩褩 邪卸 薪褨褟泻 薪械 薪邪蟹胁械褕, 褋泻芯褉褨褕械 谢褨褌芯锌懈褋褑械屑 蟹邪薪械锌邪写褍, 褟泻懈泄 泄芯谐芯 斜邪褔懈褌褜 褍褋褞写懈, 斜芯 锌褉芯 薪褜芯谐芯 卸 褨 锌懈褕械.
孝械锌械褉 泻芯褉芯褌泻芯 锌褉芯 褌械, 褔芯屑褍 褑褟 泻薪懈谐邪 - 褉械锌褉械蟹械薪褌邪褌懈胁薪懈泄 锌芯泻邪蟹薪懈泻 锌褉懈褋谢褨胁鈥樠� 芦袧邪 斜械蟹褉懈斜鈥樠� 褨 褉邪泻 - 褉懈斜邪禄. 袩邪薪褨 谐芯谢芯胁薪邪 谐械褉芯褩薪褟 (邪胁褌芯褉泻邪?) 薪邪 褎芯薪褨 胁褋褨褦褩 褑褨褦褩 褋褍屑薪芯褩 褋懈褌褍邪褑褨褩 褟胁薪芯 褋褌褉邪卸写邪褦 褖械 泄 屑邪薪褨褦褞 胁械谢懈褔褨, 斜芯 锌芯褉褨胁薪褟褌懈 褋械斜械 褨蟹 袛邪薪褌械 - 褌芯 褋懈谢褜薪芯. 袧邪蟹懈胁邪褌懈 褑褨谢褍 薪邪褑褨褞 褉邪斜邪屑懈, 邪 锌褨蟹薪褨褕械 褉芯蟹褕懈褉褟褌懈 褑械 薪邪 胁械褋褜 褋胁褨褌, 胁 褟泻芯屑褍 薪械 屑芯卸械 锌褉芯斜懈褌懈褋褜 褋锌褉邪胁卸薪褟 褌胁芯褉褔褨褋褌褜, 斜芯 胁芯薪邪 锌芯斜褍写芯胁邪薪邪 薪邪 谢褞斜芯胁褨, 邪 褦 褌褨谢褜泻懈 褋屑械褉褌褜 - 褌芯 蟹胁褍褔懈褌褜 褟泻 蟹邪锌芯胁褨写褨 薪芯胁芯褩 褉械谢褨谐褨褩, 斜褍谢芯 斜懈 斜邪卸邪薪薪褟, 屑芯卸薪邪 胁卸械 褋械泻褌褍 褋褌胁芯褉褞胁邪褌懈.
袨泻褉械屑械 蟹邪薪械锌芯泻芯褦薪薪褟 胁懈泻谢懈泻邪褞褌褜 蟹谐邪写泻懈 锌褉芯 泻褨谢褜泻褨褋褌褜 锌械褉械泻谢邪写褨胁 胁泻褨薪褑褨 泻薪懈谐懈 - 褟 褖懈褉芯 薪械 褏芯褔褍, 邪斜懈 褑褟 泻薪懈谐邪 褋褌邪谢邪 蟹薪邪泄芯屑褋褌胁芯屑 褨蟹 褔懈屑-薪械斜褍褌褜, 褖芯 屑邪褦 胁 泻芯褉褨薪薪褨 褋谢芯胁芯 芦校泻褉邪褩薪邪禄. 袣芯谢懈 褌懈 蟹褨 褋褌芯褉褨薪芯泻 芦斜械褋褌褋械谢械褉邪 薪芯胁芯褩 褍泻褉邪褩薪褋褜泻芯褩 谢褨褌械褉邪褌褍褉懈禄 褔懈褌邪褦褕 锌褉芯 褋械斜械, 褖芯 褌懈 褉邪斜 斜械蟹 谢褞斜芯胁褨, 褟泻懈泄 薪械 屑邪褦 锌褉邪胁邪 褉芯蟹屑薪芯卸褍胁邪褌懈褋褜 - 袨袣, 蟹写邪褦褌褜褋褟 胁 泻芯谐芯褋褜 芦褋泻邪蟹 屑邪褌泻懈禄.
袙邪褉褌褨 蟹谐邪写泻懈: 薪械泄屑芯胁褨褉薪褨 屑芯屑械薪褌懈 褋褍斜鈥樠斝貉傂感残叫拘承� 邪斜褋褍褉写懈蟹屑褍, 褟泻褨 褌褉邪锌谢褟褞褌褜褋褟 胁 泻薪懈蟹褨, 褟泻 芯褋褜 蟹谐邪写泻邪 锌褉芯 褌械, 褖芯 胁 袗屑械褉懈褑褨 锌褉芯褋褌芯 薪褨泻芯谢懈 薪械 斜褍谢芯 锌芯褉褟写薪芯褩 胁褨泄薪懈, 褌芯屑褍 褌邪屑 褌邪泻 胁褋械 泻谢邪褋薪芯 (620 000 蟹邪谐懈斜谢懈褏 锌褨写 褔邪褋 袗屑械褉懈泻邪薪褋褜泻芯褩 袚褉芯屑邪写褟薪褋褜泻芯褩 胁褨泄薪懈).
袧械 褏芯褔褍 蟹邪泻褨薪褔褍胁邪褌懈 褋褌邪褌褌褞 褋屑械褉褌褞, 褨 泻褉邪褖械 褋泻邪卸褍 锌褉芯 卸懈褌褌褟. 携泻褖芯 屑懈 谐芯胁芯褉懈屑芯 锌褉芯 泻芯薪褌械泻褋褌 褋胁褨褌芯胁芯谐芯 写芯褋胁褨写褍, 褌芯 薪械芯写薪芯褉邪蟹芯胁芯 褋褌邪胁邪谢懈褋褜 褨 褋褌邪褞褌褜褋褟 胁懈锌邪写泻懈 锌褉懈谐薪褨褔械薪薪褟 芯写薪褨褦褞 泻褍谢褜褌褍褉芯褞 褨薪褕褍. 袧邪泄褟褋泻褉邪胁褨褕懈泄 锌芯泻邪蟹薪懈泻 - 邪褎褉懈泻邪薪褑褨, 褟泻懈褏 褉芯蟹胁械蟹谢懈 褨蟹 褉褨写薪芯谐芯 泻芯薪褌械薪褌褍 褍 褟泻芯褋褌褨 褉邪斜褨胁 锌芯 褋胁褨褌褍, 胁褨写褉褨蟹邪谢懈 胁褋械 屑懈薪褍谢械, 胁褋械 泻褍谢褜褌褍褉薪械 薪邪写斜邪薪薪褟, 褖芯 薪邪泻芯锌懈褔褍胁邪谢芯褋褜 胁锌褉芯写芯胁卸 褌懈褋褟褔芯谢褨褌褜. 袉 蟹 褑褨褦褩 褋懈褌褍邪褑褨褩 褔芯褉薪芯褕泻褨褉褨 卸褨薪泻懈 胁懈泄褕谢懈 薪械 褨蟹 胁褨泻褌懈屑薪懈屑 薪邪褉邪褌懈胁芯屑, 邪 褨蟹 芯斜褉邪蟹芯屑 鈥渁ngry black woman鈥� - 胁褨薪 褌械卸 褦 褋褌懈谐屑邪褌懈蟹邪褑褨褦褞, 邪谢械 锌芯胁薪褨褋褌褞 胁褨写泻懈写邪褦 褉芯谢褜 卸械褉褌胁懈.
携 薪械 褏芯褔褍, 邪斜懈 卸褨薪泻懈 褔懈褌邪谢懈 锌芯写褨斜薪褍 谢褨褌械褉邪褌褍褉褍 褨 蟹薪邪褏芯写懈谢 胁懈锌褉邪胁写芯胁褍胁邪薪薪褟 褌邪 薪邪褌褏薪械薪薪褟 写谢褟 泻褍谢褜褌懈胁褍胁邪薪薪褟 锌邪褉邪薪芯褩. 袙胁邪卸邪褞 褑褞 泻薪懈谐褍 锌褉芯褋褉芯褔械薪懈屑 褖芯写械薪薪懈泻芯屑 谢褞写懈薪懈 褨蟹 锌褉芯斜谢械屑邪屑懈, 褟泻懈泄 薪械 锌褉芯泄褕芯胁 锌械褉械胁褨褉泻懈 褔邪褋芯屑.
袞褨薪泻懈 锌褉械泻褉邪褋薪褨, 卸褨薪泻懈 褋懈谢褜薪褨, 卸褨薪泻懈 褌芯褔薪芯 蟹薪邪褞褌褜, 褔芯谐芯 胁芯薪懈 褏芯褔褍褌褜. 袗 褌懈屑 斜褨谢褜褕械, 卸褨薪泻懈 校泻褉邪褩薪懈.
袣薪懈谐邪 褉芯蟹锌芯胁褨写邪褦 胁 屑邪薪械褉褨 芦锌芯褌芯泻褍 褋胁褨写芯屑芯褋褌褨禄 锌褉芯 写械泻褨谢褜泻邪 写薪褨胁 卸懈褌褌褟 褍泻褉邪褩薪褋褜泻芯褩 锌芯械褌械褋懈 褌邪 谢褨褌械褉邪褌褍褉芯蟹薪邪胁褑褨 胁 袨泻褋褎芯褉写褨, 褟泻褨 锌褉芯褏芯写褟褌褜 蟹邪 褉芯蟹写褍屑邪屑懈 锌褉芯 褩褩 卸懈褌褌褟, 屑懈薪褍谢褨 褋褌芯褋褍薪泻懈, 写懈褌懈薪褋褌胁芯, 写芯谢褞 褍泻褉邪褩薪褋褜泻芯褩 薪邪褑褨褩 褌邪 泻褍谢褜褌褍褉懈. 小锌芯泄谢械褉! 袧邪蟹胁邪 薪褨褔芯谐芯 褋锌褨谢褜薪芯谐芯 褨蟹 褋械泻褋芯屑 薪械 屑邪褦 (褏褨斜邪 褖芯 邪胁褌芯褉泻邪 胁 褌邪泻懈泄 泻谢褨泻斜械泄褌褨胁褋褜泻懈泄 褋锌芯褋褨斜 芯褏邪褉邪泻褌械褉懈蟹褍胁邪谢邪 褋褌邪褌褜). 孝械锌械褉 锌芯 褔械褉蟹褨: 褉芯蟹写褍屑懈 锌褉芯 卸懈褌褌褟 - 卸懈褌褌褟 屑械褉蟹械薪薪械, 胁芯薪邪 褋邪屑邪 屑械褉蟹械薪薪邪, 褋褌邪褉邪 褌邪 锌芯薪褨胁械褔械薪邪 胁褋褨屑, 锌芯褔懈薪邪褞褔懈 胁褨写 袪邪写褟薪褋褜泻芯谐芯 褋芯褞蟹褍 (蟹褉芯斜懈胁 褨蟹 胁褋褨褏 褍泻褉邪褩薪褑褨胁 褉邪斜褨胁-薪褨泻褔械屑), 写芯 褌邪褌泻邪, 褟泻懈泄 褍 褨薪褑械褋褌薪褨泄 屑邪薪械褉褨 褋锌褉芯胁芯泻褍胁邪胁 胁褨写褏懈谢械薪薪褟 褋械泻褋褍邪谢褜薪芯谐芯 锌谢邪薪褍 褨 褦 锌褉懈褔懈薪芯褩 褩褩 锌褉芯斜谢械屑 褍 褋褌芯褋褍薪泻邪褏.
袪芯蟹写褍屑懈 锌褉芯 屑懈薪褍谢褨 褋褌芯褋褍薪泻懈: 褟 泄芯谐芯 谢褞斜懈谢邪, 邪谢械 胁褨薪 屑械薪械 蟹褉芯斜懈胁 褎褉懈谐褨写薪芯褞 - 薪褍写芯褌薪懈泄 谢械泄褌屑芯褌懈胁 胁褨泻褌懈屑薪芯谐芯 薪锟斤拷褉邪褌懈胁褍, 褟泻芯屑褍 蟹薪邪褏芯写懈褌褜褋褟 斜械蟹泻褨薪械褔薪邪 泻褨谢褜泻褨褋褌褜 胁懈锌褉邪胁写芯胁褍胁邪薪褜: 蟹覒胁邪谢褌芯胁邪薪邪 泻褉邪褩薪邪, 蟹覒胁邪谢褌芯胁邪薪邪 泻褍谢褜褌褍褉邪, 蟹覒胁邪谢褌芯胁邪薪邪 锌褋懈褏褨泻邪 (褨 薪褨褏褌芯 胁 褩褩 卸懈褌褌褨 褩褩 薪械 泻芯褏邪胁, 褟泻 胁芯薪邪 褏芯褌褨谢邪, 褨 屑邪屑邪 褩褩 锌褉芯 泻谢褨褌芯褉 薪械 蟹薪邪谢邪, 斜芯 屑邪谢邪 谐芯谢芯写薪械 写懈褌懈薪褋褌胁芯 - 胁褋械 锌芯胁鈥樠徯沸靶叫�). 袪芯蟹写褍屑懈 锌褉芯 写芯谢褞 褍泻褉邪褩薪褋褜泻芯褩 薪邪褑褨褩 褌邪 泻褍谢褜褌褍褉懈 - 褌褍褌 褟 芯斜屑械卸褍褋褜 褑懈褌邪褌芯褞 蟹 泻薪懈谐懈 芦胁蟹邪谐邪谢褨, 胁褋械, 褖芯 褍泻褉邪褩薪褑褨 蟹写邪褌薪褨 锌褉芯 褋械斜械 锌芯胁褨写邪褌懈, - 褌芯 褟泻, 褋泻褨谢褜泻懈, 褨 薪邪 褟泻懈泄 褋锌芯褋褨斜 褩褏 斜懈谢懈...禄. 袉 褑械 胁褋械! 携泻褖芯 胁胁邪卸邪褌懈, 褖芯 褍 胁褍褋褌邪 谐械褉芯褩薪褨 邪胁褌芯褉泻邪 胁泻谢邪写邪褦 褋胁芯褩 写褍屑泻懈, 褌芯 锌褉械写褋褌邪胁薪懈泻芯屑 褍泻褉邪褩薪褋褜泻芯谐芯 泻褍谢褜褌褍褉薪芯谐芯 胁褨写褉芯写卸械薪薪褟 褩褩 邪卸 薪褨褟泻 薪械 薪邪蟹胁械褕, 褋泻芯褉褨褕械 谢褨褌芯锌懈褋褑械屑 蟹邪薪械锌邪写褍, 褟泻懈泄 泄芯谐芯 斜邪褔懈褌褜 褍褋褞写懈, 斜芯 锌褉芯 薪褜芯谐芯 卸 褨 锌懈褕械.
孝械锌械褉 泻芯褉芯褌泻芯 锌褉芯 褌械, 褔芯屑褍 褑褟 泻薪懈谐邪 - 褉械锌褉械蟹械薪褌邪褌懈胁薪懈泄 锌芯泻邪蟹薪懈泻 锌褉懈褋谢褨胁鈥樠� 芦袧邪 斜械蟹褉懈斜鈥樠� 褨 褉邪泻 - 褉懈斜邪禄. 袩邪薪褨 谐芯谢芯胁薪邪 谐械褉芯褩薪褟 (邪胁褌芯褉泻邪?) 薪邪 褎芯薪褨 胁褋褨褦褩 褑褨褦褩 褋褍屑薪芯褩 褋懈褌褍邪褑褨褩 褟胁薪芯 褋褌褉邪卸写邪褦 褖械 泄 屑邪薪褨褦褞 胁械谢懈褔褨, 斜芯 锌芯褉褨胁薪褟褌懈 褋械斜械 褨蟹 袛邪薪褌械 - 褌芯 褋懈谢褜薪芯. 袧邪蟹懈胁邪褌懈 褑褨谢褍 薪邪褑褨褞 褉邪斜邪屑懈, 邪 锌褨蟹薪褨褕械 褉芯蟹褕懈褉褟褌懈 褑械 薪邪 胁械褋褜 褋胁褨褌, 胁 褟泻芯屑褍 薪械 屑芯卸械 锌褉芯斜懈褌懈褋褜 褋锌褉邪胁卸薪褟 褌胁芯褉褔褨褋褌褜, 斜芯 胁芯薪邪 锌芯斜褍写芯胁邪薪邪 薪邪 谢褞斜芯胁褨, 邪 褦 褌褨谢褜泻懈 褋屑械褉褌褜 - 褌芯 蟹胁褍褔懈褌褜 褟泻 蟹邪锌芯胁褨写褨 薪芯胁芯褩 褉械谢褨谐褨褩, 斜褍谢芯 斜懈 斜邪卸邪薪薪褟, 屑芯卸薪邪 胁卸械 褋械泻褌褍 褋褌胁芯褉褞胁邪褌懈.
袨泻褉械屑械 蟹邪薪械锌芯泻芯褦薪薪褟 胁懈泻谢懈泻邪褞褌褜 蟹谐邪写泻懈 锌褉芯 泻褨谢褜泻褨褋褌褜 锌械褉械泻谢邪写褨胁 胁泻褨薪褑褨 泻薪懈谐懈 - 褟 褖懈褉芯 薪械 褏芯褔褍, 邪斜懈 褑褟 泻薪懈谐邪 褋褌邪谢邪 蟹薪邪泄芯屑褋褌胁芯屑 褨蟹 褔懈屑-薪械斜褍褌褜, 褖芯 屑邪褦 胁 泻芯褉褨薪薪褨 褋谢芯胁芯 芦校泻褉邪褩薪邪禄. 袣芯谢懈 褌懈 蟹褨 褋褌芯褉褨薪芯泻 芦斜械褋褌褋械谢械褉邪 薪芯胁芯褩 褍泻褉邪褩薪褋褜泻芯褩 谢褨褌械褉邪褌褍褉懈禄 褔懈褌邪褦褕 锌褉芯 褋械斜械, 褖芯 褌懈 褉邪斜 斜械蟹 谢褞斜芯胁褨, 褟泻懈泄 薪械 屑邪褦 锌褉邪胁邪 褉芯蟹屑薪芯卸褍胁邪褌懈褋褜 - 袨袣, 蟹写邪褦褌褜褋褟 胁 泻芯谐芯褋褜 芦褋泻邪蟹 屑邪褌泻懈禄.
袙邪褉褌褨 蟹谐邪写泻懈: 薪械泄屑芯胁褨褉薪褨 屑芯屑械薪褌懈 褋褍斜鈥樠斝貉傂感残叫拘承� 邪斜褋褍褉写懈蟹屑褍, 褟泻褨 褌褉邪锌谢褟褞褌褜褋褟 胁 泻薪懈蟹褨, 褟泻 芯褋褜 蟹谐邪写泻邪 锌褉芯 褌械, 褖芯 胁 袗屑械褉懈褑褨 锌褉芯褋褌芯 薪褨泻芯谢懈 薪械 斜褍谢芯 锌芯褉褟写薪芯褩 胁褨泄薪懈, 褌芯屑褍 褌邪屑 褌邪泻 胁褋械 泻谢邪褋薪芯 (620 000 蟹邪谐懈斜谢懈褏 锌褨写 褔邪褋 袗屑械褉懈泻邪薪褋褜泻芯褩 袚褉芯屑邪写褟薪褋褜泻芯褩 胁褨泄薪懈).
袧械 褏芯褔褍 蟹邪泻褨薪褔褍胁邪褌懈 褋褌邪褌褌褞 褋屑械褉褌褞, 褨 泻褉邪褖械 褋泻邪卸褍 锌褉芯 卸懈褌褌褟. 携泻褖芯 屑懈 谐芯胁芯褉懈屑芯 锌褉芯 泻芯薪褌械泻褋褌 褋胁褨褌芯胁芯谐芯 写芯褋胁褨写褍, 褌芯 薪械芯写薪芯褉邪蟹芯胁芯 褋褌邪胁邪谢懈褋褜 褨 褋褌邪褞褌褜褋褟 胁懈锌邪写泻懈 锌褉懈谐薪褨褔械薪薪褟 芯写薪褨褦褞 泻褍谢褜褌褍褉芯褞 褨薪褕褍. 袧邪泄褟褋泻褉邪胁褨褕懈泄 锌芯泻邪蟹薪懈泻 - 邪褎褉懈泻邪薪褑褨, 褟泻懈褏 褉芯蟹胁械蟹谢懈 褨蟹 褉褨写薪芯谐芯 泻芯薪褌械薪褌褍 褍 褟泻芯褋褌褨 褉邪斜褨胁 锌芯 褋胁褨褌褍, 胁褨写褉褨蟹邪谢懈 胁褋械 屑懈薪褍谢械, 胁褋械 泻褍谢褜褌褍褉薪械 薪邪写斜邪薪薪褟, 褖芯 薪邪泻芯锌懈褔褍胁邪谢芯褋褜 胁锌褉芯写芯胁卸 褌懈褋褟褔芯谢褨褌褜. 袉 蟹 褑褨褦褩 褋懈褌褍邪褑褨褩 褔芯褉薪芯褕泻褨褉褨 卸褨薪泻懈 胁懈泄褕谢懈 薪械 褨蟹 胁褨泻褌懈屑薪懈屑 薪邪褉邪褌懈胁芯屑, 邪 褨蟹 芯斜褉邪蟹芯屑 鈥渁ngry black woman鈥� - 胁褨薪 褌械卸 褦 褋褌懈谐屑邪褌懈蟹邪褑褨褦褞, 邪谢械 锌芯胁薪褨褋褌褞 胁褨写泻懈写邪褦 褉芯谢褜 卸械褉褌胁懈.
携 薪械 褏芯褔褍, 邪斜懈 卸褨薪泻懈 褔懈褌邪谢懈 锌芯写褨斜薪褍 谢褨褌械褉邪褌褍褉褍 褨 蟹薪邪褏芯写懈谢 胁懈锌褉邪胁写芯胁褍胁邪薪薪褟 褌邪 薪邪褌褏薪械薪薪褟 写谢褟 泻褍谢褜褌懈胁褍胁邪薪薪褟 锌邪褉邪薪芯褩. 袙胁邪卸邪褞 褑褞 泻薪懈谐褍 锌褉芯褋褉芯褔械薪懈屑 褖芯写械薪薪懈泻芯屑 谢褞写懈薪懈 褨蟹 锌褉芯斜谢械屑邪屑懈, 褟泻懈泄 薪械 锌褉芯泄褕芯胁 锌械褉械胁褨褉泻懈 褔邪褋芯屑.
袞褨薪泻懈 锌褉械泻褉邪褋薪褨, 卸褨薪泻懈 褋懈谢褜薪褨, 卸褨薪泻懈 褌芯褔薪芯 蟹薪邪褞褌褜, 褔芯谐芯 胁芯薪懈 褏芯褔褍褌褜. 袗 褌懈屑 斜褨谢褜褕械, 卸褨薪泻懈 校泻褉邪褩薪懈.
June 23, 2021
What the hell did I just read? This was my book for Ukraine for the #ReadingEurope2021. When North Macedonia lost to Ukraine, I was to read something by a Ukrainian author, or set in Ukraine, or about Ukraine in some way. I've been to Ukraine twice, so I was really looking forward to this, but no.
This book reminds me why I hated so many aspects of academe and "high culture." Navel-gazing, making a lot out of very little, and just being unable to live life without endless drama, this book is written by a poet, which explains my stylistic frustration with it. It's fragmentary, elitist in its referential nature, and just annoying on so many levels.
It's ostensibly about the narrator's inability to come to terms with an abusive affair that's ended. But the narrator's friend summarizes the whole thing perfectly: "have you gone mad out there, you idiot, making a huge tragedy out of a bad fuck."
This is my third European novel in translation in a row and I'm not cut out for it. Make it stop.
This book reminds me why I hated so many aspects of academe and "high culture." Navel-gazing, making a lot out of very little, and just being unable to live life without endless drama, this book is written by a poet, which explains my stylistic frustration with it. It's fragmentary, elitist in its referential nature, and just annoying on so many levels.
It's ostensibly about the narrator's inability to come to terms with an abusive affair that's ended. But the narrator's friend summarizes the whole thing perfectly: "have you gone mad out there, you idiot, making a huge tragedy out of a bad fuck."
This is my third European novel in translation in a row and I'm not cut out for it. Make it stop.
June 30, 2024
袛邪胁邪泄褌械 芯写褉邪蟹褍 写芯 芯褑褨薪泻懈.
猸� 蟹邪 褌械屑褍 褍泻褉邪褩薪褋褜泻芯褩 屑芯胁懈 泄 泻褍谢褜褌褍褉懈
猸� 蟹邪 屑邪泄褋褌械褉薪械 胁芯谢芯写褨薪薪褟 褋谢芯胁芯屑
猸� 蟹邪 芯褋褌邪薪薪褨 8 褋褌芯褉褨薪芯泻 (褏褌芯 锌芯泄薪褟胁, 褌芯泄 锌芯泄薪褟胁)
袉褖械 褏芯褔褍 锌芯写褨谢懈褌懈褋褜 "褉械褑械锌褌芯屑 袛芯褋谢褨写卸械薪褜".
1锔忊儯 袙褨蟹褜屑褨褌褜
馃枊锔� 褋褌芯谢芯胁褍 谢芯卸泻褍 薪褨泻芯屑褍 薪械 胁褋褉邪褌懈褏 邪薪谐谢褨泄褋褜泻懈褏 褋谢褨胁, 胁褨写锌芯胁褨写薪懈泻懈 褟泻懈褏 褦 褨 胁 褍泻褉邪褩薪褋褜泻褨泄 屑芯胁褨
馃枊锔� 锌褨胁褋泻谢褟薪泻懈 褨褋褌芯褉褨泄 锌褉芯 屑邪屑褍, 褌邪褌邪, 褨 锌芯写褉褍谐
馃枊锔� 薪邪 芯泻芯 - 芯褋芯斜懈褋褌芯谐芯 写芯褋胁褨写褍 锌懈褋邪薪薪褟 褍泻褉邪褩薪褋褜泻芯褞
馃枊锔� 卸屑械薪褜泻褍 薪械写芯褑褨谢褜薪懈褏 胁褨褉褕褨胁
2锔忊儯 袟屑褨褕邪泄褌械, 胁斜褍褏邪泄褌械 褌芯 胁褋褜芯 胁 写褨卸泻褍 锌邪褎芯褋褍 泄 褋邪屑芯芯斜芯卸薪褞胁邪薪薪褟
3锔忊儯 袩械褉械屑邪褋褌褨褌褜 泻褉械屑芯屑 蟹褨 褋谢褨蟹 蟹邪 褉芯蟹褨褉胁邪薪懈屑懈 褏胁芯褉芯斜谢懈胁懈屑懈 胁褨写薪芯褋懈薪邪屑懈, 褟泻褨 薪邪胁褨褌褜 芯褉谐邪蟹屑褍 薪械 锌褉懈薪芯褋懈谢懈, 谢懈褕械 斜褨谢褜 胁 屑邪褌褑褨
4锔忊儯 袧械 蟹邪斜褍写褜褌械 锌褉懈泻褉邪褋懈褌懈 泻褨谢褜泻芯屑邪 邪斜蟹邪褑邪屑懈 锌褉芯 薪械薪邪胁懈褋褌褜 写芯 校泻褉邪褩薪懈
校褉邪! 袙邪褕褨 袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟 谐芯褌芯胁褨! 袩褍斜谢褨泻褍泄褌械!
蟹.褨. 袟邪蟹写褉褞 胁褋褨屑, 泻芯屑褍 锌芯写芯斜邪褦褌褜褋褟 袟邪斜褍卸泻芯, 屑芯胁邪 褍 薪械褩 薪械锌械褉械胁械褉褕械薪邪! 袗 褟 褌芯泄, 锌褨写褍 写邪谢褨 褕褍泻邪褌懈 褋胁芯褦.
猸� 蟹邪 褌械屑褍 褍泻褉邪褩薪褋褜泻芯褩 屑芯胁懈 泄 泻褍谢褜褌褍褉懈
猸� 蟹邪 屑邪泄褋褌械褉薪械 胁芯谢芯写褨薪薪褟 褋谢芯胁芯屑
猸� 蟹邪 芯褋褌邪薪薪褨 8 褋褌芯褉褨薪芯泻 (褏褌芯 锌芯泄薪褟胁, 褌芯泄 锌芯泄薪褟胁)
袉褖械 褏芯褔褍 锌芯写褨谢懈褌懈褋褜 "褉械褑械锌褌芯屑 袛芯褋谢褨写卸械薪褜".
1锔忊儯 袙褨蟹褜屑褨褌褜
馃枊锔� 褋褌芯谢芯胁褍 谢芯卸泻褍 薪褨泻芯屑褍 薪械 胁褋褉邪褌懈褏 邪薪谐谢褨泄褋褜泻懈褏 褋谢褨胁, 胁褨写锌芯胁褨写薪懈泻懈 褟泻懈褏 褦 褨 胁 褍泻褉邪褩薪褋褜泻褨泄 屑芯胁褨
馃枊锔� 锌褨胁褋泻谢褟薪泻懈 褨褋褌芯褉褨泄 锌褉芯 屑邪屑褍, 褌邪褌邪, 褨 锌芯写褉褍谐
馃枊锔� 薪邪 芯泻芯 - 芯褋芯斜懈褋褌芯谐芯 写芯褋胁褨写褍 锌懈褋邪薪薪褟 褍泻褉邪褩薪褋褜泻芯褞
馃枊锔� 卸屑械薪褜泻褍 薪械写芯褑褨谢褜薪懈褏 胁褨褉褕褨胁
2锔忊儯 袟屑褨褕邪泄褌械, 胁斜褍褏邪泄褌械 褌芯 胁褋褜芯 胁 写褨卸泻褍 锌邪褎芯褋褍 泄 褋邪屑芯芯斜芯卸薪褞胁邪薪薪褟
3锔忊儯 袩械褉械屑邪褋褌褨褌褜 泻褉械屑芯屑 蟹褨 褋谢褨蟹 蟹邪 褉芯蟹褨褉胁邪薪懈屑懈 褏胁芯褉芯斜谢懈胁懈屑懈 胁褨写薪芯褋懈薪邪屑懈, 褟泻褨 薪邪胁褨褌褜 芯褉谐邪蟹屑褍 薪械 锌褉懈薪芯褋懈谢懈, 谢懈褕械 斜褨谢褜 胁 屑邪褌褑褨
4锔忊儯 袧械 蟹邪斜褍写褜褌械 锌褉懈泻褉邪褋懈褌懈 泻褨谢褜泻芯屑邪 邪斜蟹邪褑邪屑懈 锌褉芯 薪械薪邪胁懈褋褌褜 写芯 校泻褉邪褩薪懈
校褉邪! 袙邪褕褨 袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟 谐芯褌芯胁褨! 袩褍斜谢褨泻褍泄褌械!
蟹.褨. 袟邪蟹写褉褞 胁褋褨屑, 泻芯屑褍 锌芯写芯斜邪褦褌褜褋褟 袟邪斜褍卸泻芯, 屑芯胁邪 褍 薪械褩 薪械锌械褉械胁械褉褕械薪邪! 袗 褟 褌芯泄, 锌褨写褍 写邪谢褨 褕褍泻邪褌懈 褋胁芯褦.
May 16, 2022
This novel is a crazy ride. Stream of consciousness, avalanche of chaotic, sometimes confused feelings, emotions, memories. There鈥檚 almost no shape to this madness. Just thoughts forcefully rushing out onto the page.
Sometimes it鈥檚 a rant of a deeply angry Ukrainian poet, impotent rage for the decay of Ukrainian language and literature (it鈥檚 1994), shouting about it to anyone who would listen and getting in return patronizing "that鈥檚 a great Slavic charm you鈥檝e got鈥�. Then suddenly it鈥檚 a confession about a messed up intoxicating relationship with an abusive man. And then a casual mention of her dark memories of her childhood in a broken family of undesirables in the USSR.
This is definitely one of the least polished stream of consciousness novels I鈥檝e read, but there鈥檚 so much passion in it, there were times in the middle that I thought about bailing on it, and yet when I finished, I went straight to the beginning.
Not a perfect book, but a memorable one. Now I鈥檓 looking forward to her The Museum of Abandoned Secrets, can't wait to see how she has matured in the 13 years between publications.
Sometimes it鈥檚 a rant of a deeply angry Ukrainian poet, impotent rage for the decay of Ukrainian language and literature (it鈥檚 1994), shouting about it to anyone who would listen and getting in return patronizing "that鈥檚 a great Slavic charm you鈥檝e got鈥�. Then suddenly it鈥檚 a confession about a messed up intoxicating relationship with an abusive man. And then a casual mention of her dark memories of her childhood in a broken family of undesirables in the USSR.
This is definitely one of the least polished stream of consciousness novels I鈥檝e read, but there鈥檚 so much passion in it, there were times in the middle that I thought about bailing on it, and yet when I finished, I went straight to the beginning.
Not a perfect book, but a memorable one. Now I鈥檓 looking forward to her The Museum of Abandoned Secrets, can't wait to see how she has matured in the 13 years between publications.
February 28, 2019
蟹 写褉褍谐芯褩 褋锌褉芯斜懈 (锌械褉褕邪 斜褍谢邪 写邪胁薪芯) 芯褋懈谢懈胁. 写械褋褜 泻芯谢芯 褋械褉械写懈薪懈 写褍屑邪胁 泻懈薪褍. 屑邪斜褍褌褜 褌褉芯褏懈 薪械 屑芯褦. 薪邪褔械 斜 褨 褌械屑邪 褑褨泻邪胁邪, 邪谢械... 褑褨 褌褉懈泻褨谢芯屑械褌褉芯胁褨 褉械褔械薪薪褟 蟹 写褍卸泻邪屑懈, 泻褉邪锌泻芯-泻芯屑邪屑懈, 胁褋械褉械写懈薪褨 褟泻懈褏 褖械 芯写薪械-写胁邪 褉械褔械薪薪褟. 胁 袞邪写邪薪邪 褌邪泻芯卸 写芯胁谐褨 褉械褔械薪薪褟 - 褌邪 胁 薪褜芯谐芯 褑械 写卸邪蟹芯胁邪 褨屑锌褉芯胁褨蟹邪褑褨褟, 褋芯谢褟泻懈, 邪 褌褍褌 - 薪芯褌邪褑褨褟, 谢械泻褑褨褟 (褋邪屑芯谢褞斜褍胁邪薪薪褟. 邪胁褌芯褉泻邪 褨 薪械 写褍屑邪褦 锌褉懈锌褍褋泻邪褌懈 褖芯 薪械 胁芯薪邪 屑邪褦 褉邪褑褨褞, 褔懈 胁芯薪邪-褉褨写薪邪 屑芯卸械 褌邪泻芯褩 褉邪褑褨褩 薪械 屑邪褌懈). 褨薪芯写褨 褑械 胁邪卸泻芯 胁懈褌褉懈屑邪褌懈.
写懈胁薪懈泄 褋褍褉卸懈泻 褍泻褉邪褩薪褋褜泻芯褩, 薪邪胁褨褌褜 斜邪褉芯泻芯胁芯褩 褍泻褉邪褩薪褋褜泻芯褩 邪-谢褟 楔械胁褔褍泻 (胁褌褨屑 薪械 蟹邪胁卸写懈 斜械蟹褋锌褨褉薪芯褩), 褖芯 褋邪屑芯 褋芯斜芯褞 胁卸械 锌褉械褌械薪写褍褦 薪邪 械泻褋谢褞蟹懈胁薪褨褋褌褜/械谢褨褌邪褉薪褨褋褌褜 (褨 锌.袟邪斜褍卸泻芯 芯褏芯褔械 薪邪写 褌懈屑 褉芯蟹屑褨褉泻芯胁褍褦,) 褨蟹 薪械胁懈锌褉邪胁写邪薪懈屑懈 褉芯褋褨褟薪褨蟹屑邪屑懈 (写褦胁芯褔泻邪, 泄芯谢泻懈-锌邪谢泻懈 褨 褨薪.) 褌邪 邪屑械褉懈泻邪薪褋褜泻懈屑懈 (褖懈褉芯 胁褨褉懈屑芯, 褖褖芯 袨泻褋邪薪邪 小褌械褎邪薪褨胁薪邪 蟹薪邪褦 邪屑械褉褨泻邪薪 褨薪覒谢褨褕). 薪褍 泄 褌褨 胁褨褉褕褨.... 褕褌褍褔薪芯, 褕褌褍写械褉薪芯 褨 褕褌懈胁薪芯. 褏芯褔 褦 褎邪泄薪褨 泻邪胁邪谢泻懈, 锌褉芯 谢褨褌邪泻 薪邪写 袗褌谢邪薪褌懈泻芯褞.
褌邪, 褌懈屑 薪械 屑械薪褕械, 褔懈屑邪谢芯 褏邪褉褔褍 写芯 褉芯蟹写褍屑褨胁 褦. 褨 褔懈褌邪薪薪褟 褑褜芯谐芯 屑褨薪褨-褉芯屑邪薪褍 (?) 邪卸 薪褨褟泻 薪械 褦 斜械蟹褑褨谢褜薪芯 胁懈褌褉邪褔械薪懈屑 褔邪褋芯屑. 褌褉芯褏懈 锌褉懈泻褉芯 胁褉邪卸邪褞褌褜 芯褌褨 胁褋褨 褉芯蟹胁邪卸邪薪薪褟 锌褉芯 斜芯谐邪-写懈褟胁芯谢邪 斜谢懈卸褔械 写芯 泻褨薪褑褟 泻薪懈卸泻懈. 泻芯褉芯褌褕械, 邪薪褌懈泻芯谢芯薪褨褟谢褜薪邪 锌褉芯蟹邪 褋械褉械写懈薪懈 90-褏. 薪械芯褎械屑褨薪褨褋褌懈褔薪邪 褨 薪芯胁邪褌芯褉褋褜泻邪 泻薪懈卸泻邪. 蟹薪邪泻芯胁邪. 写褍褏 褔邪褋褍 褨 胁褋械 褌邪泻械. 邪谢械 写谢褟 褏褍写锌褉芯蟹懈 锌邪薪褨 谢邪胁褉械褟褌泻邪 褖芯褋褜 薪械 褌芯泄胁芯. 褩褩 锌褍斜谢褨褑懈褋褌懈泻邪 写芯斜褉械 褍谢褟谐邪褦 (褋谢芯胁械褔泻芯 胁 褋褌懈谢褨 邪胁褌芯褉泻懈) 褌邪泻芯屑褍 卸芯褉褋褌泻芯-锌芯谢械屑褨褔薪芯屑褍 褨 锌褉械褌械薪蟹褨泄薪芯屑褍 褋褌懈谢褨. 邪 芯褌 褉芯屑邪薪...
褌褉懈 蟹 锌谢褞褋芯屑
写懈胁薪懈泄 褋褍褉卸懈泻 褍泻褉邪褩薪褋褜泻芯褩, 薪邪胁褨褌褜 斜邪褉芯泻芯胁芯褩 褍泻褉邪褩薪褋褜泻芯褩 邪-谢褟 楔械胁褔褍泻 (胁褌褨屑 薪械 蟹邪胁卸写懈 斜械蟹褋锌褨褉薪芯褩), 褖芯 褋邪屑芯 褋芯斜芯褞 胁卸械 锌褉械褌械薪写褍褦 薪邪 械泻褋谢褞蟹懈胁薪褨褋褌褜/械谢褨褌邪褉薪褨褋褌褜 (褨 锌.袟邪斜褍卸泻芯 芯褏芯褔械 薪邪写 褌懈屑 褉芯蟹屑褨褉泻芯胁褍褦,) 褨蟹 薪械胁懈锌褉邪胁写邪薪懈屑懈 褉芯褋褨褟薪褨蟹屑邪屑懈 (写褦胁芯褔泻邪, 泄芯谢泻懈-锌邪谢泻懈 褨 褨薪.) 褌邪 邪屑械褉懈泻邪薪褋褜泻懈屑懈 (褖懈褉芯 胁褨褉懈屑芯, 褖褖芯 袨泻褋邪薪邪 小褌械褎邪薪褨胁薪邪 蟹薪邪褦 邪屑械褉褨泻邪薪 褨薪覒谢褨褕). 薪褍 泄 褌褨 胁褨褉褕褨.... 褕褌褍褔薪芯, 褕褌褍写械褉薪芯 褨 褕褌懈胁薪芯. 褏芯褔 褦 褎邪泄薪褨 泻邪胁邪谢泻懈, 锌褉芯 谢褨褌邪泻 薪邪写 袗褌谢邪薪褌懈泻芯褞.
褌邪, 褌懈屑 薪械 屑械薪褕械, 褔懈屑邪谢芯 褏邪褉褔褍 写芯 褉芯蟹写褍屑褨胁 褦. 褨 褔懈褌邪薪薪褟 褑褜芯谐芯 屑褨薪褨-褉芯屑邪薪褍 (?) 邪卸 薪褨褟泻 薪械 褦 斜械蟹褑褨谢褜薪芯 胁懈褌褉邪褔械薪懈屑 褔邪褋芯屑. 褌褉芯褏懈 锌褉懈泻褉芯 胁褉邪卸邪褞褌褜 芯褌褨 胁褋褨 褉芯蟹胁邪卸邪薪薪褟 锌褉芯 斜芯谐邪-写懈褟胁芯谢邪 斜谢懈卸褔械 写芯 泻褨薪褑褟 泻薪懈卸泻懈. 泻芯褉芯褌褕械, 邪薪褌懈泻芯谢芯薪褨褟谢褜薪邪 锌褉芯蟹邪 褋械褉械写懈薪懈 90-褏. 薪械芯褎械屑褨薪褨褋褌懈褔薪邪 褨 薪芯胁邪褌芯褉褋褜泻邪 泻薪懈卸泻邪. 蟹薪邪泻芯胁邪. 写褍褏 褔邪褋褍 褨 胁褋械 褌邪泻械. 邪谢械 写谢褟 褏褍写锌褉芯蟹懈 锌邪薪褨 谢邪胁褉械褟褌泻邪 褖芯褋褜 薪械 褌芯泄胁芯. 褩褩 锌褍斜谢褨褑懈褋褌懈泻邪 写芯斜褉械 褍谢褟谐邪褦 (褋谢芯胁械褔泻芯 胁 褋褌懈谢褨 邪胁褌芯褉泻懈) 褌邪泻芯屑褍 卸芯褉褋褌泻芯-锌芯谢械屑褨褔薪芯屑褍 褨 锌褉械褌械薪蟹褨泄薪芯屑褍 褋褌懈谢褨. 邪 芯褌 褉芯屑邪薪...
褌褉懈 蟹 锌谢褞褋芯屑
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孝褨谢褜泻懈 蟹邪胁写褟泻懈 芯蟹胁褍褔褑褨 薪邪 袗斜褍泻 褟 蟹屑芯谐谢邪 芯褋懈谢懈褌懈 褑褞 泻褉懈褏褨褌泻褍. 袙褋械 卸, 泻芯谢懈 谢褞写懈薪邪 褔懈褌邪褦 褌械泻褋褌 胁谐芯谢芯褋, 褌芯 褉芯斜懈褌褜 褨 邪泻褑械薪褌懈, 褨 锌邪褍蟹懈. 袦械薪褨 褌邪泻 褋锌褉懈泄屑邪谢芯褋褜 薪邪斜邪谐邪褌芯 谢械谐褕械, 薪褨卸 胁谢邪褋薪械 褔懈褌邪薪薪褟 褌械泻褋褌褍 芯褔懈屑邪 馃
些芯写芯 蟹屑褨褋褌褍 - 褉邪写褨褞, 褖芯 薪邪褉械褕褌褨 芯蟹薪邪泄芯屑懈谢邪褋褜 蟹 褑褨褦褞 谢械谐械薪写邪褉薪芯褞 泻薪懈谐芯褞 薪邪褕芯褩 谢褨褌械褉邪褌褍褉懈. 袧械 卸邪谢泻褍褞 馃憣馃徎
些芯写芯 蟹屑褨褋褌褍 - 褉邪写褨褞, 褖芯 薪邪褉械褕褌褨 芯蟹薪邪泄芯屑懈谢邪褋褜 蟹 褑褨褦褞 谢械谐械薪写邪褉薪芯褞 泻薪懈谐芯褞 薪邪褕芯褩 谢褨褌械褉邪褌褍褉懈. 袧械 卸邪谢泻褍褞 馃憣馃徎
August 10, 2023
胁懈斜邪褔褌械, 邪谢械 褟 薪械 蟹屑芯谐谢邪 褑械 写芯褔懈褌邪褌懈
泻褉褨蟹褜 褑褨 写芯胁卸械谢械蟹薪褨 褋谢芯胁械褋薪褨 泻芯薪褋褌褉褍泻褑褨褩 锌褉芯褋褌芯 薪械褉械邪谢褜薪芯 锌褉芯褉胁邪褌懈褋褜 褨 胁谢芯胁懈褌懈 褟泻褍褋褜 褋褍褌褜鈥�
褟 写芯胁谐芯 屑褍褔懈谢邪褋褜
写褨泄褕谢邪 胁懈褋薪芯胁泻褍, 褖芯 胁芯薪芯 褌芯谐芯 薪械 胁邪褉褌械
锌褉芯褔懈褌邪谢邪 泻芯褉芯褌泻懈泄 褋褞卸械褌 褍 袙褨泻褨锌械写褨褩
屑械薪褨 褑褜芯谐芯 写芯褋褌邪褌薪褜芯
泻褉褨蟹褜 褑褨 写芯胁卸械谢械蟹薪褨 褋谢芯胁械褋薪褨 泻芯薪褋褌褉褍泻褑褨褩 锌褉芯褋褌芯 薪械褉械邪谢褜薪芯 锌褉芯褉胁邪褌懈褋褜 褨 胁谢芯胁懈褌懈 褟泻褍褋褜 褋褍褌褜鈥�
褟 写芯胁谐芯 屑褍褔懈谢邪褋褜
写褨泄褕谢邪 胁懈褋薪芯胁泻褍, 褖芯 胁芯薪芯 褌芯谐芯 薪械 胁邪褉褌械
锌褉芯褔懈褌邪谢邪 泻芯褉芯褌泻懈泄 褋褞卸械褌 褍 袙褨泻褨锌械写褨褩
屑械薪褨 褑褜芯谐芯 写芯褋褌邪褌薪褜芯
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September 4, 2023芯褌 褨薪泻芯谢懈 斜褍胁邪褦 胁褨写泻褉懈胁邪褦褕 褌械泻褋褌 褨 胁 褟泻懈泄褋褜 屑芯屑械薪褌 褉芯蟹褍屑褨褦褕, 褖芯 褖懈褉芯 蟹邪蟹写褉懈褕 邪胁褌芯褉褑褨, 薪褍 芯褌 褖芯褋褜 胁芯薪邪 褌邪泻 泻褉褍褌芯 褉芯斜懈褌褜, 褖芯 邪卸 蟹邪胁懈写泻懈 斜械褉褍褌褜, 芯褌 褟泻 卸械 褌邪泻, 锌邪写谢芯, 谢械谐泻芯 褌邪 薪械胁懈屑褍褕械薪芯 褑械 褌芯斜褨 胁写邪褦褌褜褋褟, 谐邪? 屑芯卸械, 褨 褟 褌邪泻 褏芯褔褍, 邪谢械 薪褨褌 鈥� 蟹邪褋褜! 褟泻 泻邪蟹邪胁 泻谢邪褋懈泻, 胁邪屑 褌邪泻 薪械 斜褍写械. 褌邪泻 芯褌, 芯泻褋邪薪褨 褋褌械褎邪薪褨胁薪褨 褖懈褉芯 蟹邪蟹写褉褞 蟹邪 锌褉懈褉芯写薪褨泄 褎谢芯褍, 斜芯 褋泻邪蟹邪褌懈 褖芯 褟 褍 蟹邪褏胁邪褌褨 鈥� 褑械 褋褍褌褌褦胁芯 锌褉懈屑械薪褕懈褌懈 屑芯褩 胁褨写褔褍褌褌褟. 泄械褋, 褋锌芯褔邪褌泻褍 薪邪泻褉懈胁邪褦 褎谢械褕斜械泻芯屑, 斜芯 蟹写邪褦褌褜褋褟, 褖芯 褌懈 蟹薪芯胁褍 锌芯褌褉邪锌懈胁 胁 写卸芯泄褋褨胁褋褜泻褨 褌械薪械褌邪 褨 蟹邪褉邪蟹 褟泻 薪邪褕锌懈谐褍褞褌褜 胁褨写褋懈谢泻邪屑懈 褌邪 锌褉懈褏芯胁邪薪懈屑懈 褋屑懈褋谢邪屑懈 锌芯 褋邪屑褨褋褨薪褜泻械 薪械 屑芯卸褍, 斜芯 褌械斜械 蟹薪芯胁褍 薪械褋械 锌芯褌芯泻芯屑 褋胁褨写芯屑芯褋褌褨 褨 褌邪泻 蟹薪邪泄芯屑芯 斜芯谢褟褔械 谢褍锌褑褞褦 芯 褋褌懈谢褨褋褌懈褔薪褨 锌芯褉芯谐懈, 邪 褉械褎谢械泻褋 鈥� 胁褨薪 褖芯 胁 袣懈褦胁褨, 褖芯 胁 袛褍斜谢褨薪褨 褉械褎谢械泻褋: 屑褉褍卸懈褕褋褟 薪械褋胁褨写芯屑芯 锌械褉械写 泻芯卸薪懈屑 蟹邪薪褍褉械薪薪褟屑 褌邪 谢械写胁械 胁褋褌懈谐邪褦褕 锌芯胁褨褌褉褟 泻芯胁褌薪褍褌懈; 邪谢械 胁褋械 褑械 褌褟谐薪械褌褜褋褟 写褍卸械 薪械写芯胁谐芯 鈥� 谢懈褕 写芯泻懈 胁薪褍褌褉褨褕薪褞 褉褨胁薪芯胁邪谐褍 薪械 胁褨写薪邪泄写械褕 褨, 褌邪泻 斜懈 屑芯胁懈褌懈, 薪械 褋褌邪斜褨谢褨蟹褍褦褕褋褟, 邪 写邪谢褨 褑械泄 斜褨斜谢褨芯褎褨谢褜褋泻懈泄 胁芯褟卸 锌械褉械褌胁芯褉褞褦褌褜褋褟 薪邪 芯写薪褍 蟹 薪邪泄褑褨泻邪胁褨褕懈褏 锌芯写芯褉芯卸械泄 褉芯泻褍. 褖械 泄 屑芯胁邪 褌邪泻邪 褋褌褉芯泻邪褌邪, 褑褨谢邪 泻褍锌邪 褉褨写泻芯胁卸懈胁邪薪懈褏 褋谢褨胁 屑邪泄芯褉懈褌褜, 邪谢械 锌褉懈 褌芯屑褍 胁械褋褜 胁芯泻邪斜褍谢褟褉 薪邪锌褉芯褔褍写 芯褉谐邪薪褨褔薪芯 胁锌谢械褌械薪懈泄 褌邪 锌芯胁薪褨褋褌褞 胁褨写锌芯胁褨写邪褦 芯斜褉邪薪褨泄 邪胁褌芯褉泻芯褞 褎芯褉屑褨. 泻芯褉芯褌褕械, 100 蟹 谐邪泻芯屑 褋褌芯褉褨薪芯泻 谢褨薪谐胁褨褋褌懈褔薪芯谐芯 芯褉谐邪蟹屑褍.
邪 褖械 胁芯薪邪 胁褋械 蟹薪邪谢邪 褌邪 褉芯蟹褍屑褨谢邪 胁 写邪谢械泻芯屑褍 96-芯屑褍, 屑芯褟 褕邪薪邪.
邪 褖械 胁芯薪邪 胁褋械 蟹薪邪谢邪 褌邪 褉芯蟹褍屑褨谢邪 胁 写邪谢械泻芯屑褍 96-芯屑褍, 屑芯褟 褕邪薪邪.
March 19, 2023
携 锌芯褋褌褨泄薪芯 胁褨写泻谢邪写邪谢邪 芦写芯褉芯褋谢械禄 锌械褉械褔懈褌褍胁邪薪薪褟 褑褨褦褩 泻薪懈卸泻懈, 斜芯 褍 16 斜褍谢邪 胁褉邪卸械薪邪 褋褌懈谢械屑 褨 械锌邪褌邪卸薪褨褋褌褞 褌械泻褋褌褍. 袉 芯褌 胁芯薪芯 薪邪褋褌邪谢芯, 泻芯谢懈 褟 谐芯褌芯胁邪 锌褉芯邪褋芯褑褨褞胁邪褌懈 褋械斜械 蟹 锌械褉褋芯薪邪卸泻芯褞 鈥� 30-褉褨褔薪芯褞 褍泻褉邪褩薪褋褜泻芯褞 锌懈褋褜屑械薪薪懈褑械褞, 褟泻邪 泻芯褏邪褦 (锌芯-褋锌褉邪胁卸薪褜芯屑褍 褔懈 蟹 屑邪蟹芯褏褨褋褌懈褔薪芯褞 锌褉懈褋褌褉邪褋褌褞), 褏芯褔械 褔懈 薪械 褏芯褔械 写褨褌械泄, 锌芯褋褌褨泄薪芯 锌邪屑始褟褌邪褦, 褖芯 胁芯薪邪 褍泻褉邪褩薪泻邪 胁 械泻蟹懈谢褨, 蟹薪邪褦 褍褋械 (褔懈 薪邪褋锌褉邪胁写褨 薪褨褔芯谐芯 薪械 蟹薪邪褦?) 锌褉芯 褋械斜械 褋邪屑褍鈥� 袗谢械 泻芯薪褌邪泻 写芯 泻褨薪褑褟 薪械 胁褨写斜褍胁褋褟. 袛褍卸械 斜邪谐邪褌芯 芯斜褋褌邪胁懈薪 蟹屑褨薪懈谢芯褋褟. 袦芯褟 泻褉邪褩薪邪 褦 薪邪 屑邪锌褨 褋胁褨褌褍, 褏芯褔邪 泄 写芯胁芯写懈褌褜褋褟 锌芯胁褋褟泻褔邪褋 褖芯褋褜 泻芯屑褍褋褜 写芯胁芯写懈褌懈 泄 褉芯蟹锌芯胁褨写邪褌懈, 褍 屑械薪械 薪械屑邪褦 写芯褋胁褨写褍 芦蟹邪胁芯泄芯胁褍胁邪薪薪褟 袟邪褏芯写褍禄, 褟 褋邪屑邪 褨 谢褞写懈 薪邪胁泻芯谢芯 斜褨谢褜褕 褔褍泄薪褨 褌邪 蟹褉褨谢褨, 斜芯 屑懈 薪械 卸懈胁械屑芯 蟹 褌褉邪胁屑邪屑懈, 屑懈 褍卸械 褋褏芯写懈谢懈 写芯 锌褋懈褏芯谢芯谐褨胁, 屑懈 蟹写邪褌薪褨 锌芯褋褌邪胁懈褌懈 褋芯斜褨 泄 褋褍褋锌褨谢褜褋褌胁褍 写褨邪谐薪芯蟹懈. 孝芯斜褌芯 锌芯锌褉懈 锌芯写褨斜薪褨褋褌褜 褌邪泻 斜邪谐邪褌芯 胁褋褜芯谐芯 蟹屑褨薪懈谢芯褋褟 褨 褟 褔械泻邪谢邪 泻芯薪褌邪泻褌褍 蟹 锌械褉褋芯薪邪卸泻芯褞, 褔械泻邪谢邪 芦胁锌褨蟹薪邪胁邪薪薪褟禄, 邪谢械 薪褨褔芯谐芯 薪械 胁褨写斜褍谢芯褋褟, 褔懈褌邪谢邪 薪械 锌褉芯 褟泻褍褋褜 薪械 写褍卸械 蟹褉褨谢褍 泄 写褍卸械 写邪谢械泻褍 芯写薪芯谢褨褌泻褍.
March 31, 2023
袛褍卸械 薪械蟹胁懈褔薪邪 写谢褟 屑械薪械 泻薪懈谐邪. 袩褉芯褋褌芯 褨薪褕邪. 孝芯褔薪芯 薪械 写谢褟 褕懈褉芯泻芯谐芯 蟹邪谐邪谢褍. 袝锌邪褌邪卸薪邪. 袗胁褌芯褉泻邪 写褍卸械 泻褉邪褋懈胁芯 锌懈褕械, 谢械泻褋懈泻邪 锌褉芯褋褌芯 胁懈泻谢懈泻邪谢邪 蟹邪褏芯锌谢械薪薪褟. 袣薪懈谐褍 屑芯卸薪邪 锌芯胁薪褨褋褌褞 褉芯蟹褨斜褉邪褌懈 薪邪 褑懈褌邪褌懈.
September 29, 2022
袘邪褔懈褕 薪邪 锌芯谢懈褑褨 泻薪懈卸械褔泻褍, 写芯 褟泻芯褩 胁械谢褜屑懈 薪械芯写薪芯蟹薪邪褔薪械 褋褌邪胁谢械薪薪褟. 袪芯蟹谐芯褉褌邪褦褕 胁 褉邪薪写芯屑薪芯屑褍 屑褨褋褑褨, 锌褉懈褎褨谐褨胁邪褦褕 胁褨写 泻芯屑锌褉械褋芯胁邪薪懈褏 褑械谐谢懈薪芯泻 (褌褍褌 胁蟹邪谐邪谢褨 褦 邪斜蟹邪褑懈?), 锌褉芯斜褍褦褕 胁褔懈褌邪褌懈褋褜, 锌芯褋屑褨褏邪褦褕褋褟. 袘械褉械褕 锌芯褔懈褌邪褌懈.
芦袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟 蟹 褍泻褉邪褩薪褋褜泻芯谐芯 褋械泻褋褍禄 褦 褍薪褨泻邪谢褜薪懈屑 锌褉芯写褍泻褌芯屑, 褟泻懈泄 屑芯褟 褍褟胁薪邪 褔懈褌邪褑褜泻邪 锌芯谢懈褔泻邪 邪褋芯褑褨褞褦 蟹 芦校谢褨褋褋芯屑禄 袛卸芯泄褋邪. 袗谢械 薪邪 胁褨写屑褨薪褍 胁褨写 芯褋褌邪薪薪褜芯谐芯, 芦袛芯褋谢褨写卸械薪薪褟禄 屑械薪褨 写褍卸械 褋锌芯写芯斜邪谢懈褋褜.
笑械 褌芯薪泻邪, 褖懈褉邪 褌邪 屑邪泻褋懈屑邪谢褜薪芯 胁褨写胁械褉褌邪 锌褉芯蟹邪 蟹 胁褍褋褌 (锌邪谢褜褑褨胁?) 卸褨薪泻懈, 褟泻邪 薪械 锌褉芯褋褌芯 蟹薪邪褦 褖芯 锌懈褕械, 邪 锌械褉械卸懈谢邪 薪邪锌懈褋邪薪械 (褟泻褖芯 薪褨, 褌芯 + 斜邪谢 写芯 械褎械泻褌褍 蟹邪薪褍褉械薪薪褟). 袛褍卸械 胁邪卸泻懈泄 褨 胁芯写薪芯褔邪褋 锌褉懈胁邪斜谢懈胁懈泄 褋褌懈谢褜, 斜褨谢褜褕械 褋褏芯卸懈泄 薪邪 芦锌芯褌褨泻 褋胁褨写芯屑芯褋褌褨禄, 褟泻懈泄 薪邪谐邪写褍褦 锌懈褋邪薪薪褟 锌械褉芯胁芯褞 褉褍褔泻芯褞 鈥� 褟泻褖芯 锌芯褋锌褨褕邪褌懈屑械褕, 褌芯 胁懈泄写械 褟泻邪褋褜 褏褉褨薪褜. 笑褨 泻芯薪褑械薪褌褉芯胁邪薪褨 124 褋褌芯褉褨薪泻懈 褌褉械斜邪 褔懈褌邪褌懈 锌芯胁褨谢褜薪芯 褌邪 胁写褍屑谢懈胁芯. 孝邪 泄 写芯 褋邪屑芯谐芯 泻芯薪褌械薪褌褍 褌褉械斜邪 斜褍褌懈 谐芯褌芯胁懈屑, 斜芯 褑械 薪械 锌褉芯 褋褞卸械褌, 邪 锌褉芯 械屑芯褑褨褩. 袟邪 芦谢械谐泻懈屑 薪邪 胁械褔褨褉禄 褉芯蟹胁械褉褌邪褦屑芯褋褜 薪邪 180 褌邪 胁泄芯.
袛褍卸械 胁邪卸谢懈胁邪 褉褨褔 写谢褟 褎械屑褨薪褨蟹屑褍 (褌邪 泄 蟹邪谐邪谢芯屑 写谢褟 褍泻褉邪褩薪褋褜泻芯褩 谢褨褌械褉邪褌褍褉懈), 胁 褟泻褨泄 写械褖芯 写械屑芯薪褨蟹芯胁邪薪邪 褔芯谢芯胁褨褔邪 锌芯褋褌邪褌褜, 邪谢械 屑褍写邪泻懈 褌褉邪锌谢褟褞褌褜褋褟 褍褋褞写懈. 孝邪泻懈 谐械褉芯褩薪褨 薪械 锌芯褖邪褋褌懈谢芯 蟹 锌邪褉褌薪械褉芯屑, 锌褉芯 褖芯 泄 锌懈褕械褌褜褋褟 蟹 锌械褉褕懈褏 褋褌芯褉褨薪芯泻, 邪谢械 薪邪写褨褩, 芦谢褞斜芯褍 胁褨写锌芯胁褨写邪泄禄, 褍芯褋芯斜谢械薪薪褟 褔芯谢芯胁褨泻褨胁 褔械褉械蟹 锌芯褋褌邪褌褜 斜邪褌褜泻邪 褌邪 褨薪褕械. 些械 褉邪蟹: 褑械 泻芯薪褑械薪褌褉芯胁邪薪褨 械屑芯褑褨褩, 褋褍斜谢褨屑芯胁邪薪褨 薪械谐邪褌懈胁薪懈屑 写芯褋胁褨写芯屑 邪斜鈥櫻幮沸感残叫秆� 褋褌芯褋褍薪泻褨胁. 孝褍褌 薪械屑邪褦 蟹邪薪褍褉械薪薪褟 褍 褔褍卸褨 写芯胁斜械褕泻懈 (谢懈褕械 薪邪写褍屑邪薪械 锌褉芯褌邪谐芯薪褨褋褌泻芯褞) 褌邪 芯锌懈褋褨胁 芯褌芯褔械薪薪褟, 褟泻褖芯 褑械 薪械 胁邪卸谢懈胁芯 胁 泻芯薪褌械泻褋褌褨 锌芯褔褍褌褌褨胁 鈥� 褑褜芯谐芯 胁 芦褑械谐谢懈薪泻邪褏禄 薪械 胁懈褋褌邪褔邪谢芯, 邪谢械 泄 泻薪懈卸泻邪 斜 褌芯写褨 斜褍谢邪 写褉褍谐芯褞.
袦械薪褨 写褍卸械 褋锌芯写芯斜邪谢芯褋褜 褨 褟 胁锌械胁薪械薪懈泄, 褖芯 泻芯谢懈-薪械斜褍写褜 褖械 褉邪蟹 锌械褉械褔懈褌邪褞, 斜芯 褌械屑邪 褌邪泻懈 胁褨褔薪邪.
芦袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟 蟹 褍泻褉邪褩薪褋褜泻芯谐芯 褋械泻褋褍禄 褦 褍薪褨泻邪谢褜薪懈屑 锌褉芯写褍泻褌芯屑, 褟泻懈泄 屑芯褟 褍褟胁薪邪 褔懈褌邪褑褜泻邪 锌芯谢懈褔泻邪 邪褋芯褑褨褞褦 蟹 芦校谢褨褋褋芯屑禄 袛卸芯泄褋邪. 袗谢械 薪邪 胁褨写屑褨薪褍 胁褨写 芯褋褌邪薪薪褜芯谐芯, 芦袛芯褋谢褨写卸械薪薪褟禄 屑械薪褨 写褍卸械 褋锌芯写芯斜邪谢懈褋褜.
笑械 褌芯薪泻邪, 褖懈褉邪 褌邪 屑邪泻褋懈屑邪谢褜薪芯 胁褨写胁械褉褌邪 锌褉芯蟹邪 蟹 胁褍褋褌 (锌邪谢褜褑褨胁?) 卸褨薪泻懈, 褟泻邪 薪械 锌褉芯褋褌芯 蟹薪邪褦 褖芯 锌懈褕械, 邪 锌械褉械卸懈谢邪 薪邪锌懈褋邪薪械 (褟泻褖芯 薪褨, 褌芯 + 斜邪谢 写芯 械褎械泻褌褍 蟹邪薪褍褉械薪薪褟). 袛褍卸械 胁邪卸泻懈泄 褨 胁芯写薪芯褔邪褋 锌褉懈胁邪斜谢懈胁懈泄 褋褌懈谢褜, 斜褨谢褜褕械 褋褏芯卸懈泄 薪邪 芦锌芯褌褨泻 褋胁褨写芯屑芯褋褌褨禄, 褟泻懈泄 薪邪谐邪写褍褦 锌懈褋邪薪薪褟 锌械褉芯胁芯褞 褉褍褔泻芯褞 鈥� 褟泻褖芯 锌芯褋锌褨褕邪褌懈屑械褕, 褌芯 胁懈泄写械 褟泻邪褋褜 褏褉褨薪褜. 笑褨 泻芯薪褑械薪褌褉芯胁邪薪褨 124 褋褌芯褉褨薪泻懈 褌褉械斜邪 褔懈褌邪褌懈 锌芯胁褨谢褜薪芯 褌邪 胁写褍屑谢懈胁芯. 孝邪 泄 写芯 褋邪屑芯谐芯 泻芯薪褌械薪褌褍 褌褉械斜邪 斜褍褌懈 谐芯褌芯胁懈屑, 斜芯 褑械 薪械 锌褉芯 褋褞卸械褌, 邪 锌褉芯 械屑芯褑褨褩. 袟邪 芦谢械谐泻懈屑 薪邪 胁械褔褨褉禄 褉芯蟹胁械褉褌邪褦屑芯褋褜 薪邪 180 褌邪 胁泄芯.
袛褍卸械 胁邪卸谢懈胁邪 褉褨褔 写谢褟 褎械屑褨薪褨蟹屑褍 (褌邪 泄 蟹邪谐邪谢芯屑 写谢褟 褍泻褉邪褩薪褋褜泻芯褩 谢褨褌械褉邪褌褍褉懈), 胁 褟泻褨泄 写械褖芯 写械屑芯薪褨蟹芯胁邪薪邪 褔芯谢芯胁褨褔邪 锌芯褋褌邪褌褜, 邪谢械 屑褍写邪泻懈 褌褉邪锌谢褟褞褌褜褋褟 褍褋褞写懈. 孝邪泻懈 谐械褉芯褩薪褨 薪械 锌芯褖邪褋褌懈谢芯 蟹 锌邪褉褌薪械褉芯屑, 锌褉芯 褖芯 泄 锌懈褕械褌褜褋褟 蟹 锌械褉褕懈褏 褋褌芯褉褨薪芯泻, 邪谢械 薪邪写褨褩, 芦谢褞斜芯褍 胁褨写锌芯胁褨写邪泄禄, 褍芯褋芯斜谢械薪薪褟 褔芯谢芯胁褨泻褨胁 褔械褉械蟹 锌芯褋褌邪褌褜 斜邪褌褜泻邪 褌邪 褨薪褕械. 些械 褉邪蟹: 褑械 泻芯薪褑械薪褌褉芯胁邪薪褨 械屑芯褑褨褩, 褋褍斜谢褨屑芯胁邪薪褨 薪械谐邪褌懈胁薪懈屑 写芯褋胁褨写芯屑 邪斜鈥櫻幮沸感残叫秆� 褋褌芯褋褍薪泻褨胁. 孝褍褌 薪械屑邪褦 蟹邪薪褍褉械薪薪褟 褍 褔褍卸褨 写芯胁斜械褕泻懈 (谢懈褕械 薪邪写褍屑邪薪械 锌褉芯褌邪谐芯薪褨褋褌泻芯褞) 褌邪 芯锌懈褋褨胁 芯褌芯褔械薪薪褟, 褟泻褖芯 褑械 薪械 胁邪卸谢懈胁芯 胁 泻芯薪褌械泻褋褌褨 锌芯褔褍褌褌褨胁 鈥� 褑褜芯谐芯 胁 芦褑械谐谢懈薪泻邪褏禄 薪械 胁懈褋褌邪褔邪谢芯, 邪谢械 泄 泻薪懈卸泻邪 斜 褌芯写褨 斜褍谢邪 写褉褍谐芯褞.
袦械薪褨 写褍卸械 褋锌芯写芯斜邪谢芯褋褜 褨 褟 胁锌械胁薪械薪懈泄, 褖芯 泻芯谢懈-薪械斜褍写褜 褖械 褉邪蟹 锌械褉械褔懈褌邪褞, 斜芯 褌械屑邪 褌邪泻懈 胁褨褔薪邪.
April 11, 2022
Ale偶 to jest j臋zykowa petarda! Rzadko spotyka si臋 autor贸w o tak wielkiej mocy nazywania rzeczy, tych ulotnych i nienazywalnych tak samo jak tych oczywistych, wielkich. Nie czyta si臋 tego 艂atwo, ten typ narracji, bezprzestankowy strumie艅 my艣li, skojarze艅, dywagacji jest m臋cz膮cy, wymagaj膮cy od czytelnika zaanga偶owania i skupienia.
Zabu偶ko podejmuje g艂贸wnie kwesti臋 nie艂atwych relacji damsko-m臋skich, opowiada histori臋 zwi膮zku ukrai艅skiej literatki i ukrai艅skiego malarza. To jednak interesowa艂o mnie mniej ni偶 w膮tki imigracyjne, zderzenia kultury wschodnioeuropejskiej z zachodni膮, a ju偶 najciekawsze by艂o to, co autorka mia艂a do powiedzenia o swoim narodzie.
Stopie艅 zag臋szcz臋nia tej prozy, jej nasycenia metaforami, obrazowymi por贸wnaniami, jest wysoki, jak na m贸j gust zbyt wysoki, sama wol臋 oszcz臋dno艣膰 i lakoni臋, barokowo艣膰 s艂owna wychodzi艂a mi tu niekiedy uszami.
Zabu偶ko podejmuje g艂贸wnie kwesti臋 nie艂atwych relacji damsko-m臋skich, opowiada histori臋 zwi膮zku ukrai艅skiej literatki i ukrai艅skiego malarza. To jednak interesowa艂o mnie mniej ni偶 w膮tki imigracyjne, zderzenia kultury wschodnioeuropejskiej z zachodni膮, a ju偶 najciekawsze by艂o to, co autorka mia艂a do powiedzenia o swoim narodzie.
Stopie艅 zag臋szcz臋nia tej prozy, jej nasycenia metaforami, obrazowymi por贸wnaniami, jest wysoki, jak na m贸j gust zbyt wysoki, sama wol臋 oszcz臋dno艣膰 i lakoni臋, barokowo艣膰 s艂owna wychodzi艂a mi tu niekiedy uszami.
May 8, 2020
袣芯谢懈褋褜 芯写薪邪 写褍卸械 褕邪薪芯胁邪薪邪 屑薪芯褞 谢褞写懈薪邪 褋泻邪蟹邪谢邪, 褖芯 褋褍褔邪褋薪褨 斜褨写懈 褍泻褉邪褩薪褑褨胁 锌芯褏芯写褟褌褜 蟹 薪械泄屑芯胁褨褉薪懈褏 褋褌褉邪卸写邪薪褜 褍 屑懈薪褍谢芯屑褍. 袟邪斜褍卸泻芯 锌械褉械褌胁芯褉褞褦 褑褞 褋褍屑薪褨胁薪褍 写褍屑泻褍 薪邪 薪械蟹邪锌械褉械褔薪褍 褨褋褌懈薪褍.
袙懈写邪薪懈泄 褍 1996 褉芯褑褨 褉芯屑邪薪 蟹芯褋械褉械写卸褍褦褌褜褋褟 薪邪 锌懈褌邪薪薪褨 薪邪褑褨芯薪邪谢褜薪芯褩 褨写械薪褌懈褔薪芯褋褌褨, 褟泻褍 薪邪褉邪褌芯褉泻邪 芯褋屑懈褋谢褞褦 泻褉褨蟹褜 锌褉懈蟹屑褍 锌褉芯斜谢械屑邪褌懈褔薪懈褏 褋褌芯褋褍薪泻褨胁 蟹 褋胁芯褩屑 锌邪褉褌薪械褉芯屑. 袧邪褋懈谢褜褋褌胁芯, 芯斜褉邪蟹懈 锌芯薪械胁芯谢械薪薪褟 褨 褌褉邪胁屑懈 芯褋芯斜懈褋褌芯谐芯 卸懈褌褌褟 褋褌邪褞褌褜 械屑斜谢械屑邪褌懈褔薪芯褞 褨谢褞褋褌褉邪褑褨褦褞 薪邪褑褨芯薪邪谢褜薪芯褩 褨褋褌芯褉褨褩. 笑械 胁 锌芯褦写薪邪薪薪褨 蟹 褨褋褌械褉懈褔薪懈屑 褋褌懈谢械屑 邪胁褌芯褉泻懈 褌邪 褎芯褉屑芯褞 褌械泻褋褌褍, 褖芯 薪邪谐邪写褍褦 "锌芯褌褨泻 褋胁褨写芯屑芯褋褌褨", 蟹褉芯斜懈谢懈 锌褉芯褑械褋 褔懈褌邪薪薪褟 屑邪泄卸械 薪械褋褌械褉锌薪懈屑. 袦芯卸谢懈胁芯, 褑械 褨 斜褍谢芯 屑械褌芯褞 袟邪斜褍卸泻芯: 锌褉械写褋褌邪胁懈褌懈 屑邪蟹芯褏褨褋褌褋褜泻械 褋褌邪胁谢械薪薪褟 写芯 锌懈褌邪薪褜 胁谢邪褋薪芯褩 褨写械薪褌懈褔薪芯褋褌褨 锌芯褉褟写 蟹 屑邪蟹芯褏褨褋褌褋褜泻芯褞 褋械泻褋褍邪谢褜薪褨褋褌褞 褍 褎芯褉屑褨 屑邪蟹芯褏褨褌褋褜泻芯谐芯 褌械泻褋褌褍. 携泻褖芯 褌邪泻, 褌芯 褍 薪械褩 胁懈泄褕谢芯 锌褉械泻褉邪褋薪芯. 袗谢械 屑邪蟹芯褏褨蟹屑, 褟泻 胁褨写芯屑芯, 薪械 写谢褟 胁褋褨褏.
袙懈写邪薪懈泄 褍 1996 褉芯褑褨 褉芯屑邪薪 蟹芯褋械褉械写卸褍褦褌褜褋褟 薪邪 锌懈褌邪薪薪褨 薪邪褑褨芯薪邪谢褜薪芯褩 褨写械薪褌懈褔薪芯褋褌褨, 褟泻褍 薪邪褉邪褌芯褉泻邪 芯褋屑懈褋谢褞褦 泻褉褨蟹褜 锌褉懈蟹屑褍 锌褉芯斜谢械屑邪褌懈褔薪懈褏 褋褌芯褋褍薪泻褨胁 蟹 褋胁芯褩屑 锌邪褉褌薪械褉芯屑. 袧邪褋懈谢褜褋褌胁芯, 芯斜褉邪蟹懈 锌芯薪械胁芯谢械薪薪褟 褨 褌褉邪胁屑懈 芯褋芯斜懈褋褌芯谐芯 卸懈褌褌褟 褋褌邪褞褌褜 械屑斜谢械屑邪褌懈褔薪芯褞 褨谢褞褋褌褉邪褑褨褦褞 薪邪褑褨芯薪邪谢褜薪芯褩 褨褋褌芯褉褨褩. 笑械 胁 锌芯褦写薪邪薪薪褨 蟹 褨褋褌械褉懈褔薪懈屑 褋褌懈谢械屑 邪胁褌芯褉泻懈 褌邪 褎芯褉屑芯褞 褌械泻褋褌褍, 褖芯 薪邪谐邪写褍褦 "锌芯褌褨泻 褋胁褨写芯屑芯褋褌褨", 蟹褉芯斜懈谢懈 锌褉芯褑械褋 褔懈褌邪薪薪褟 屑邪泄卸械 薪械褋褌械褉锌薪懈屑. 袦芯卸谢懈胁芯, 褑械 褨 斜褍谢芯 屑械褌芯褞 袟邪斜褍卸泻芯: 锌褉械写褋褌邪胁懈褌懈 屑邪蟹芯褏褨褋褌褋褜泻械 褋褌邪胁谢械薪薪褟 写芯 锌懈褌邪薪褜 胁谢邪褋薪芯褩 褨写械薪褌懈褔薪芯褋褌褨 锌芯褉褟写 蟹 屑邪蟹芯褏褨褋褌褋褜泻芯褞 褋械泻褋褍邪谢褜薪褨褋褌褞 褍 褎芯褉屑褨 屑邪蟹芯褏褨褌褋褜泻芯谐芯 褌械泻褋褌褍. 携泻褖芯 褌邪泻, 褌芯 褍 薪械褩 胁懈泄褕谢芯 锌褉械泻褉邪褋薪芯. 袗谢械 屑邪蟹芯褏褨蟹屑, 褟泻 胁褨写芯屑芯, 薪械 写谢褟 胁褋褨褏.
April 30, 2023
O lectur膬 deloc simpl膬 葯i alert膬 卯n pofida num膬rului restr芒ns de pagini...
Stilul Oksanei Zabushko l-a葯 putea defini 卯n felul urm膬tor : "Cum ar fi scris Proust dac膬 ar fi fost femeie "exilat膬" dintr-un spa葲iu postsovietic..."
E complicat s膬 m膬 expun la moment referitor la acest roman-manifest. E nevoie de timp pentru a digera acest flux intens al con葯tiin葲ei individuale 葯i na葲ionale, mai cu seam膬 reie葯ind din contextul actual.
脦ntre timp 葲in s膬 transcriu c芒teva idei ce mi-au atras aten葲ia 卯n mod special :
馃摉 "(...) Noi to葲i suntem din lag膬re. De secole purt膬m aceast膬 mo葯tenire. / C膬ut芒ndu-ne iubirea prin h膬葲i葯ul suferin葲ei. / GULAG-ul e 葯i atunci c芒nd 卯葲i boce葯ti cu jale neputin葲a - / 葮i nu e nimeni ca s膬 te-n葲eleag膬..."
馃摉 "(...) totul nu este dec芒t o minciun膬, sincer v膬 spun: doar copil膬ria este adev膬rat膬, doar ea este unitatea de m膬sur膬 pentru via葲膬, bine卯n葲eles, dac膬 a葲i reu葯it s膬 nu strivi葲i acea feti葲膬 din interiorul dumneavoastr膬 (sau acel b膬ie葲el, care st膬tea sprijinit 卯n b膬葲, cufundat 卯n reveria contemplativ膬 a marii simfonii de foc a asfin葲itului)"
馃摉 "Doamnelor 葯i domnilor, noi am fost un popor frumos, cu vederi largi, mare 葯i puternic, cu r膬d膬cini ad芒nc 卯nfipte 卯n acest p膬m芒nt din care au 卯ncercat s膬 ne smulg膬, mult timp momindu-ne cu c芒te o bucat膬 de carne, ca p芒n膬 la urm膬 s膬 reu葯easc膬, iar noi ne-am luat zborul, ne-am 卯mpr膬葯tiat 卯n toate z膬rile ca puful din pernele despicate de baionete, perne pe care noi le preg膬tisem pentru nunta noastr膬, al膬turi de care am cusut 卯n cruciuli葲膬 nenum膬rate c芒ntece, cuv芒nt l芒ng膬 cuv芒nt de-a lungul 卯ntregii noastre istorii 葯i iat膬 unde am ajuns cu broderia!"
(Studii 卯n teren despre sexul ucrainean / Oksana Zabushko; trad.: Ovidiu Hanceriuc; Bucure葯ti: Art, 2008)
Stilul Oksanei Zabushko l-a葯 putea defini 卯n felul urm膬tor : "Cum ar fi scris Proust dac膬 ar fi fost femeie "exilat膬" dintr-un spa葲iu postsovietic..."
E complicat s膬 m膬 expun la moment referitor la acest roman-manifest. E nevoie de timp pentru a digera acest flux intens al con葯tiin葲ei individuale 葯i na葲ionale, mai cu seam膬 reie葯ind din contextul actual.
脦ntre timp 葲in s膬 transcriu c芒teva idei ce mi-au atras aten葲ia 卯n mod special :
馃摉 "(...) Noi to葲i suntem din lag膬re. De secole purt膬m aceast膬 mo葯tenire. / C膬ut芒ndu-ne iubirea prin h膬葲i葯ul suferin葲ei. / GULAG-ul e 葯i atunci c芒nd 卯葲i boce葯ti cu jale neputin葲a - / 葮i nu e nimeni ca s膬 te-n葲eleag膬..."
馃摉 "(...) totul nu este dec芒t o minciun膬, sincer v膬 spun: doar copil膬ria este adev膬rat膬, doar ea este unitatea de m膬sur膬 pentru via葲膬, bine卯n葲eles, dac膬 a葲i reu葯it s膬 nu strivi葲i acea feti葲膬 din interiorul dumneavoastr膬 (sau acel b膬ie葲el, care st膬tea sprijinit 卯n b膬葲, cufundat 卯n reveria contemplativ膬 a marii simfonii de foc a asfin葲itului)"
馃摉 "Doamnelor 葯i domnilor, noi am fost un popor frumos, cu vederi largi, mare 葯i puternic, cu r膬d膬cini ad芒nc 卯nfipte 卯n acest p膬m芒nt din care au 卯ncercat s膬 ne smulg膬, mult timp momindu-ne cu c芒te o bucat膬 de carne, ca p芒n膬 la urm膬 s膬 reu葯easc膬, iar noi ne-am luat zborul, ne-am 卯mpr膬葯tiat 卯n toate z膬rile ca puful din pernele despicate de baionete, perne pe care noi le preg膬tisem pentru nunta noastr膬, al膬turi de care am cusut 卯n cruciuli葲膬 nenum膬rate c芒ntece, cuv芒nt l芒ng膬 cuv芒nt de-a lungul 卯ntregii noastre istorii 葯i iat膬 unde am ajuns cu broderia!"
(Studii 卯n teren despre sexul ucrainean / Oksana Zabushko; trad.: Ovidiu Hanceriuc; Bucure葯ti: Art, 2008)
March 7, 2022
Oksana Zabu偶ko jest poetk膮, a jej wiersze wplecione w nie mniej liryczn膮 narracj臋 鈥濨ada艅 terenowych nad ukrai艅skim seksem鈥� u艣wiadamiaj膮, 偶e jest cholernie dobr膮 poetk膮.
J臋zyk Ukrainki ociera si臋 o brutalno艣膰, raz jest przepe艂niony 偶ywymi obrazami przemocy i seksualno艣ci, by po chwili przej艣膰 w wyzywaj膮cy polityczny komentarz.
Narracja prowadzona w formie strumienia 艣wiadomo艣ci opowiada o nieudanym zwi膮zku narratorki, cenionej na zachodzie ukrai艅skiej poetki, z mniej znanym, cho膰 nie mniej utalentowanym ukrai艅skim malarzem.
Ale ten zwi膮zek b臋d膮cy poniek膮d odzwierciedleniem ukrai艅skiej psyche, jest r贸wnie偶 platform膮 do rozwa偶a艅 nad ukrai艅sk膮 histori膮 i ukrai艅sk膮 to偶samo艣ci膮, kt贸r膮 ta historia w brutalny spos贸b ukszta艂towa艂a (i, chcia艂oby si臋 doda膰, ci膮gle tak w艂a艣nie kszta艂tuje).
鈥炩€� co si臋 z nimi wszystkimi sta艂o, umarli z g艂odu w trzydziestym trzecim? zgin臋li w obozach, wi臋zieniach 艣ledczych NKWD czy po prostu stracili zdrowie w ko艂chozach? Cholerny 艣wiat, byli艣my pi臋knym narodem, ladies and gentlemen, o jasnym wzroku, narodem silnym i dorodnym, samow艂adnie i g艂臋boko zakorzenionym w ziemi, z kt贸rej d艂ugo nas wyrywano, z krwi膮 i korzeniami, a偶 w ko艅cu wyrwano, i rozbiegli艣my si臋, rozsypali艣my po 艣wiecie jak poszarpane pierze z rozprutych bagnetami poduszek鈥︹€�
Nazywana Ukrai艅sk膮 Sylvi膮 Plath, Zabu偶ko przypomina mi s艂owia艅sk膮 wersj臋 Annie Erneux. S艂owia艅sk膮 gdy偶 mimo tego, 偶e jej proza niesie w sobie zachodni indywidualizm, to jest to indywidualizm przekszta艂cony przez s艂owia艅skie traumy stale powracaj膮cych wojen, totalitaryzm贸w czy autokracji. To one sprawi艂y, 偶e ta wschodnio-s艂owia艅ska indywidualno艣膰, gn臋biona i wypalana, wyhodowa艂a odmienne spojrzenie, szorstkie i podejrzliwe, ale z niepohamowanym instynktem przetrwania.
J臋zyk Ukrainki ociera si臋 o brutalno艣膰, raz jest przepe艂niony 偶ywymi obrazami przemocy i seksualno艣ci, by po chwili przej艣膰 w wyzywaj膮cy polityczny komentarz.
Narracja prowadzona w formie strumienia 艣wiadomo艣ci opowiada o nieudanym zwi膮zku narratorki, cenionej na zachodzie ukrai艅skiej poetki, z mniej znanym, cho膰 nie mniej utalentowanym ukrai艅skim malarzem.
Ale ten zwi膮zek b臋d膮cy poniek膮d odzwierciedleniem ukrai艅skiej psyche, jest r贸wnie偶 platform膮 do rozwa偶a艅 nad ukrai艅sk膮 histori膮 i ukrai艅sk膮 to偶samo艣ci膮, kt贸r膮 ta historia w brutalny spos贸b ukszta艂towa艂a (i, chcia艂oby si臋 doda膰, ci膮gle tak w艂a艣nie kszta艂tuje).
鈥炩€� co si臋 z nimi wszystkimi sta艂o, umarli z g艂odu w trzydziestym trzecim? zgin臋li w obozach, wi臋zieniach 艣ledczych NKWD czy po prostu stracili zdrowie w ko艂chozach? Cholerny 艣wiat, byli艣my pi臋knym narodem, ladies and gentlemen, o jasnym wzroku, narodem silnym i dorodnym, samow艂adnie i g艂臋boko zakorzenionym w ziemi, z kt贸rej d艂ugo nas wyrywano, z krwi膮 i korzeniami, a偶 w ko艅cu wyrwano, i rozbiegli艣my si臋, rozsypali艣my po 艣wiecie jak poszarpane pierze z rozprutych bagnetami poduszek鈥︹€�
Nazywana Ukrai艅sk膮 Sylvi膮 Plath, Zabu偶ko przypomina mi s艂owia艅sk膮 wersj臋 Annie Erneux. S艂owia艅sk膮 gdy偶 mimo tego, 偶e jej proza niesie w sobie zachodni indywidualizm, to jest to indywidualizm przekszta艂cony przez s艂owia艅skie traumy stale powracaj膮cych wojen, totalitaryzm贸w czy autokracji. To one sprawi艂y, 偶e ta wschodnio-s艂owia艅ska indywidualno艣膰, gn臋biona i wypalana, wyhodowa艂a odmienne spojrzenie, szorstkie i podejrzliwe, ale z niepohamowanym instynktem przetrwania.
May 13, 2022
袧械 褋褗屑 褋懈谐褍褉薪邪, 褔械 卸邪薪褉褗褌 '锌芯褌芯泻 薪邪 褋褗蟹薪邪薪懈械褌芯' 械 屑芯械褌芯, 屑邪泻邪褉, 褔械 褏邪褉械褋邪褏 褌芯胁邪 褋褌褉邪薪薪芯 锌芯胁械褋褌胁芯胁邪薪懈械 薪邪 褉褗斜邪 薪邪 谢褍写芯褋褌褌邪. 孝邪谢邪薪褌褗褌 薪邪 邪胁褌芯褉泻邪褌邪 械 薪械褋褗屑薪械薪, 芯褋芯斜械薪芯 屑懈 褏邪褉械褋邪褏邪 褉邪蟹褋褗卸写械薪懈褟褌邪 蟹邪 屑邪褉谐懈薪邪谢薪芯褌芯 屑褟褋褌芯 薪邪 褍泻褉邪懈薪褋泻邪褌邪 泻褍谢褌褍褉邪 懈 '薪邪锌褉邪蟹薪懈褌械 褍褋懈谢懈褟 薪邪 谢褞斜芯胁褌邪' 薪邪 谐械褉芯懈薪褟褌邪 写邪 褟 褋锌芯写械谢懈 褋褗褋 褋胁械褌邪. 袩芯 薪褟泻邪泻褗胁 薪邪褔懈薪 屑懈褋谢褟, 褔械 褌芯胁邪 胁邪卸懈 懈 蟹邪 薪邪褕邪褌邪, 斜褗谢谐邪褉褋泻邪 泻褍谢褌褍褉邪, 薪械锌褉械胁芯写懈屑邪, 邪 胁 屑薪芯谐芯 褋谢褍褔邪懈 屑芯卸械 斜懈 写芯褉懈 薪械蟹薪邪褔懈褌械谢薪邪 懈 薪械懈薪褌械褉械褋薪邪 蟹邪 写芯屑懈薪懈褉邪褖懈褌械 泻褍谢褌褍褉懈 懈 械蟹懈褑懈.
October 3, 2022
袩芯褌褨泻 褋胁褨写芯屑芯褋褌褨, 胁 褟泻懈泄 屑械薪褨 斜褍谢芯 谢械谐泻芯 褟泻 锌褨褉薪褍褌懈 褨蟹 蟹邪写芯胁芯谢械薪薪褟屑, 褌邪泻 褨 胁懈斜褉邪褌懈褋褟 蟹 薪褜芯谐芯 薪邪 锌芯胁械褉褏薪褨褋褌褜 斜褍写械薪褖懈薪懈. 小褌懈谢械屑 褌褉械斜邪 锌褉芯褋褌芯 薪邪褋芯谢芯写卸褍胁邪褌懈褋褟, 锌芯锌褉懈 胁褋褞 斜芯谢褞褔褨褋褌褜 蟹屑褨褋褌褍. 孝褉褨褕泻懈 褉褨蟹邪谢懈 薪褨斜懈 蟹胁械褉褏薪褨 芯锌懈褋懈 褨薪褕懈褏 褉邪褋 褌邪 薪邪褑褨芯薪邪谢褜薪芯褋褌械泄, 褌邪 泄 褋胁芯褩泄 写褨褋褌邪谢芯褋褟. 笑褨泻邪胁芯, 褖芯 胁卸械 薪械屑芯卸谢懈胁芯 褋褍褔邪褋薪芯谐芯 屑械薪褨 褍泻褉邪褩薪褋褜泻芯谐芯 褔芯谢芯胁褨泻邪 邪褋芯褑褞褞胁邪褌懈 蟹 褌懈屑懈, 锌褉芯 褟泻懈褏 锌懈褕械褌褜褋褟 褌褍褌. 袩芯泻芯谢褨薪薪褟 写褨褌械泄 袧械蟹邪谢械卸薪芯褋褌褨 褉芯蟹泻胁褨褌谢懈 褨薪褕懈屑 泻芯谢褜芯褉芯屑, 薪褨卸 斜邪褔懈谢芯褋褟 胁 写械胁'褟薪芯褋褌褨.
July 17, 2022
tre艣膰 super, ale forma zupe艂nie nie moja
November 20, 2021
效芯屑褍褋褜 锌褉懈泄薪褟褌芯 写褨谢懈褌懈 谢褨褌械褉邪褌褍褉褍 薪邪 械谢褨褌邪褉薪褍 褌邪 屑邪褋芯胁芯谐芯 褔懈褌邪褔邪
袧褍 褌邪泻, 褍屑芯胁薪芯.
"袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟 蟹 褍泻褉邪褩薪褋褜泻芯谐芯 褋械泻褋褍" 袨泻褋邪薪懈 袟邪斜褍卸泻芯 - 褑械 褟褋泻褉邪胁懈泄 锌褉懈泻谢邪写 谢褨褌械褉邪褌褍褉懈 "薪械 写谢褟 胁褋褨褏". 袉 薪械 褌芯屑褍, 褖芯 胁懈 褟泻褨褋褜 薪械 褌邪泻褨 褔懈 蟹 泻薪懈谐芯褞 褖芯褋褜 薪械 褌邪泻. 袙芯薪邪 锌褉芯褋褌芯 薪械 写谢褟 胁褋褨褏.
袉褋褌芯褉褨褟 泻芯褏邪薪薪褟 褏褍写芯卸薪懈泻邪 褌邪 锌芯械褌泻懈 薪邪 褌谢褨 褋褌邪薪芯胁谢械薪薪褟 薪械蟹邪谢械卸薪芯褋褌褨 校泻褉邪褩薪懈. 袉褋褌芯褉褨褟 褨写械 胁褨写 锌械褉褕芯谐芯 谢懈褑褟, 褋褍褑褨谢褜薪懈屑 锌芯褌芯泻芯屑 写褍屑芯泻 褌邪 械屑芯褑褨泄. 啸芯褔 褍 褑械薪褌褉褨 芯锌芯胁褨写褨 褨 泻芯褏邪薪薪褟 "写芯 薪褜芯谐芯", 褌邪 邪胁褌芯褉泻邪 薪械 胁褨写屑芯胁谢褟褦褌褜褋褟 褨 胁褨写 谢褨褉懈褔薪懈褏 胁褨写褋褌褍锌褨胁 锌褉芯 褋胁芯褦 卸懈褌褌褟, 褨薪褕懈褏 泻芯褏邪薪褑褨胁 褌邪 褉芯斜芯褌褍.
"袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟 蟹 褍泻褉邪褩薪褋褜泻芯谐芯 褋械泻褋褍" - 褑械 薪械 薪芯薪褎褨泻 锌褉芯 褌褉邪写懈褑褨褩 褔懈 胁褨褉褍胁邪薪薪褟, 褨褋褌芯褉褨褞, 褋褌械褉械芯锌懈褌懈. 笑械 褨褋褌芯褉褨褟 卸褨薪泻懈 写谢褟 褍褋褨褏, 褏褌芯 谐芯褌芯胁懈泄 褋谢褍褏邪褌懈. 袗 薪邪蟹胁邪 褌褍褌 胁 褌械屑褍, 芯褌 褌褨谢褜泻懈 蟹褉芯蟹褍屑褨谢芯 褑械 邪卸 褍 泻褨薪褑褨.
袦械薪褨 蟹写邪褦褌褜褋褟, 褖芯 褋泻褨谢褜泻懈 斜 褉邪蟹褨胁 褟 薪械 褔懈褌邪谢邪 褑褞 泻薪懈谐褍, 蟹邪胁卸写懈 蟹胁械褌邪褌懈屑褍 褍胁邪谐褍 薪邪 褖芯褋褜 褨薪褕械. 袘芯 褑褟 泻薪懈谐邪 胁褨写褔褍胁邪褦褌褜褋褟 褔械褉械蟹 胁谢邪褋薪懈泄 写芯褋胁褨写, 斜邪褔械薪薪褟, 械屑芯褑褨褩. 笑褨泻邪胁芯, 邪谢械 褟泻斜懈 蟹薪邪谢邪, 褌芯 斜 褑褨褦褩 泻薪懈谐懈 薪械 锌芯褔懈薪邪谢邪. 袟邪薪邪写褌芯 斜邪谐邪褌芯 "邪谢械".
袧褍 褌邪泻, 褍屑芯胁薪芯.
"袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟 蟹 褍泻褉邪褩薪褋褜泻芯谐芯 褋械泻褋褍" 袨泻褋邪薪懈 袟邪斜褍卸泻芯 - 褑械 褟褋泻褉邪胁懈泄 锌褉懈泻谢邪写 谢褨褌械褉邪褌褍褉懈 "薪械 写谢褟 胁褋褨褏". 袉 薪械 褌芯屑褍, 褖芯 胁懈 褟泻褨褋褜 薪械 褌邪泻褨 褔懈 蟹 泻薪懈谐芯褞 褖芯褋褜 薪械 褌邪泻. 袙芯薪邪 锌褉芯褋褌芯 薪械 写谢褟 胁褋褨褏.
袉褋褌芯褉褨褟 泻芯褏邪薪薪褟 褏褍写芯卸薪懈泻邪 褌邪 锌芯械褌泻懈 薪邪 褌谢褨 褋褌邪薪芯胁谢械薪薪褟 薪械蟹邪谢械卸薪芯褋褌褨 校泻褉邪褩薪懈. 袉褋褌芯褉褨褟 褨写械 胁褨写 锌械褉褕芯谐芯 谢懈褑褟, 褋褍褑褨谢褜薪懈屑 锌芯褌芯泻芯屑 写褍屑芯泻 褌邪 械屑芯褑褨泄. 啸芯褔 褍 褑械薪褌褉褨 芯锌芯胁褨写褨 褨 泻芯褏邪薪薪褟 "写芯 薪褜芯谐芯", 褌邪 邪胁褌芯褉泻邪 薪械 胁褨写屑芯胁谢褟褦褌褜褋褟 褨 胁褨写 谢褨褉懈褔薪懈褏 胁褨写褋褌褍锌褨胁 锌褉芯 褋胁芯褦 卸懈褌褌褟, 褨薪褕懈褏 泻芯褏邪薪褑褨胁 褌邪 褉芯斜芯褌褍.
"袩芯谢褜芯胁褨 写芯褋谢褨写卸械薪薪褟 蟹 褍泻褉邪褩薪褋褜泻芯谐芯 褋械泻褋褍" - 褑械 薪械 薪芯薪褎褨泻 锌褉芯 褌褉邪写懈褑褨褩 褔懈 胁褨褉褍胁邪薪薪褟, 褨褋褌芯褉褨褞, 褋褌械褉械芯锌懈褌懈. 笑械 褨褋褌芯褉褨褟 卸褨薪泻懈 写谢褟 褍褋褨褏, 褏褌芯 谐芯褌芯胁懈泄 褋谢褍褏邪褌懈. 袗 薪邪蟹胁邪 褌褍褌 胁 褌械屑褍, 芯褌 褌褨谢褜泻懈 蟹褉芯蟹褍屑褨谢芯 褑械 邪卸 褍 泻褨薪褑褨.
袦械薪褨 蟹写邪褦褌褜褋褟, 褖芯 褋泻褨谢褜泻懈 斜 褉邪蟹褨胁 褟 薪械 褔懈褌邪谢邪 褑褞 泻薪懈谐褍, 蟹邪胁卸写懈 蟹胁械褌邪褌懈屑褍 褍胁邪谐褍 薪邪 褖芯褋褜 褨薪褕械. 袘芯 褑褟 泻薪懈谐邪 胁褨写褔褍胁邪褦褌褜褋褟 褔械褉械蟹 胁谢邪褋薪懈泄 写芯褋胁褨写, 斜邪褔械薪薪褟, 械屑芯褑褨褩. 笑褨泻邪胁芯, 邪谢械 褟泻斜懈 蟹薪邪谢邪, 褌芯 斜 褑褨褦褩 泻薪懈谐懈 薪械 锌芯褔懈薪邪谢邪. 袟邪薪邪写褌芯 斜邪谐邪褌芯 "邪谢械".
March 31, 2022
Oksana 葲ine un discurs unei audien葲e din Vest. Audien葲a e imaginar膬, dar orice fat膬 din Est care a crescut sub umbra URSS-ului 葯tie ca to葲i pere葲ii au urechi 葯i niciodat膬 nu vorbe葯ti singur膬.
Discursul ei e despre fric膬 葯i dragoste, care ar trebui s膬 se anuleze reciproc. Erotismul e cel mai puternic 卯n cuvinte, nu 卯n sex. Dragostea e pentru b膬rbatul slav "deschis la tot ce e r膬u", "singurul ucrainean 卯nving膬tor" 葯i e pentru 葲ara care nu-葯i g膬se葯te locul, prins膬 卯ntre fatalismul rusesc 葯i individualismul european. Europa le-a v芒ndut ucrainenilor iluzia c膬 pot, dar ei nu au 卯nv膬葲at niciodat膬 cum anume se 卯nt芒mpl膬 acest "eu pot".
Eu scriu sacadat, pentru c膬 am citit-o greu, dar Oksana scrie fluid 葯i oniric, ca o poet膬 adev膬rat膬 (ce e) 葯i merit膬 citit膬.
Discursul ei e despre fric膬 葯i dragoste, care ar trebui s膬 se anuleze reciproc. Erotismul e cel mai puternic 卯n cuvinte, nu 卯n sex. Dragostea e pentru b膬rbatul slav "deschis la tot ce e r膬u", "singurul ucrainean 卯nving膬tor" 葯i e pentru 葲ara care nu-葯i g膬se葯te locul, prins膬 卯ntre fatalismul rusesc 葯i individualismul european. Europa le-a v芒ndut ucrainenilor iluzia c膬 pot, dar ei nu au 卯nv膬葲at niciodat膬 cum anume se 卯nt芒mpl膬 acest "eu pot".
Eu scriu sacadat, pentru c膬 am citit-o greu, dar Oksana scrie fluid 葯i oniric, ca o poet膬 adev膬rat膬 (ce e) 葯i merit膬 citit膬.
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