This “collection of poems in Ukrainian and Russian languages” is some kind of collection of keenings. As usually it’s women who perform the rite of keening, 20 to 30 authors of the book “Euromaidan. Lyrical chronicle” are feminine. One of features which sends us to associations with the rite of keening is high frequency of using of vocatives, especially a permanent feeling of presence of addressee (for instance, Marianna Kiyanovska who is keening in her untitled poem for Bogdan Solchanyk). The main peculiarity that unifies all these poems is, therefore, a mourning tonality of the book.
It’s important that in this context both keening and silence are really considerable. Anthropologist Bogdanov affirms that “the most important unexpressed thing is communicatively significant silence”. This silence is expressed by three dots. This is interlinear silence. This is silence of some writers or even artists in general who couldn’t create during Maidan. This is silence which can utter all unexplainable phenomenons (including loss, despair etc.) For example, Evgeniya Bilchenko wrote in her poem “ARCHE”: “Language is ill. It’s frightened. Let’s better keep silent.” Or Borys Khersonsky suggests: “In the beginning was the Word, and there is no need in more words”.
Last year I analyzed another popular text by Evgeniya Bilchenko “Who am I?” and only this year I’ve realized that during Maidan everybody asked himself/herself this question. Many representatives of bohemia emphasized in interviews that they weren’t sculptors, poets, musicians on Maidan, they were Ukrainians. In the context of literature of Maidan it’s not important who is talking, it’s important about what. Therefore we can partially talk about “The death of the author” (by Roland Barthes) and about transformation of many authorial texts into folklore.
Aneta Kaminska in her anthology “East – West. Poems from Ukraine and for Ukraine” mentions about a considerable role of children in conversation about modern Ukrainian literature of Maidan and War. She rhetorically asks everyone and herself what these children will grow up like. Children who play the game “Barricades” and “The war between separatists and banderivtsi”… As in my last year research I wrote about high frequency of using word “mother” in poetic texts of Maidan, furthermore about considerable importance of mothers in this context in general, this year Aneta Kaminska inspired me on reflections concerning the topic of children in another aspect. Everybody was an adult child on Maidan, not depending on his/her age. Texts, which, for instance, have words “mother, father, son, daughter, sister etc”, can clearly illustrate that.
The conclusion of my this year re-readings of poetic texts about Maidan, especially poetic collection “Euromaidan. Lyrical chronicle”, can be best expressed by words by Aleida Assmann: “Memories appear only when experience, which is connected with them, is finished and has been left in the past.” At last I have understood that researching of “such” literature is like flying a hot air balloon: You lift higher, You are in the air above houses, above people, above city, above scene…You are able to see more, Your horizons of comprehension become wider… Nevertheless You are able to understand this experience, reconsider it only when You firmly stand on the ground, come to yourself, talk about that calmly in a balanced manner and (the most important!) when enough time has already passed after that.