Electronic Library of Ukrainian Literature

• Introduction
• Journals and collections covered by this bibliography
• Books and pamphlets
• Articles in journals and collections
• Translations in journals and collections
• Book reviews in journals and collections
• General index
• List of subject headings

Ukrainian Literature in English by Marta Tarnawsky is a comprehensive bibliography of Ukrainian literature in English. This installment covers the years 1966-1979. The entire bibliography consists of the following sections:

• Marta Tarnawsky. Ukrainian Literature in English: Books and Pamphlets, 1840-1965
• Marta Tarnawsky. Ukrainian Literature in English: Articles in Journals and Collections, 1840-1965
• Marta Tarnawsky. Ukrainian Literature in English, 1966-1979, of which this web page is a component.
• Marta Tarnawsky. Ukrainian Literature in English: 1980-1989
• Marta Tarnawsky. Ukrainian Literature in English, Selected Articles in Journals and Collections Published since 2000 In progress, preliminary data

Books and pamphlets

B001. Antonych, Bohdan Ihor. Square of Angels. / Bohdan Antonych. Selected poems translated by Mark Rudman and Paul Nemser with Bohdan Boychuk. Introd. by Bohdan Rubchak. Ann Arbor, MI: Ardis, 1977. xx, 69 p. (Ardis world poets in translation series, no.3).

Contents: Introduction / Bohdan Rubchak (ix-xx p.). Invitation: Spring (Antonych grows, the grass grows) / Tr. PN. Green bible (Springtime is a carousel) / Tr. MR. Meeting (A boy grows like a raspberry bush) / Tr. PN. On the road (Threads of wind braid the morning) / Tr. PN. The cups (Green ashtree, sickle, horses) / Tr. MR. The poplars (Two lonely poplars bend down) / Tr. PN. A village (Cows are praying to the sun) / Tr. MR. Christmas (God is born on a sleigh) / Tr. PN. A forest (Learn the forest language) / Tr. MR. Storm (The storm is coming. Gray alders) / Tr. MR. Wonder (Dawn. Daylight strips the stars) / Tr. PN & MR. First Chapter: Sign of the lion (Kingdom of dead flowers, the desert sleeps) / Tr. MR. St. George Square (Coal-black midnight) / Tr. MR. Square of angels (For two hundred years on the theatre square) / Tr. PN & MR. Spring (Spring erupts, and joyful chimneysweeps) / Tr. MR. Ballad of an alley (Where the night wrings its blue hands) / Tr. MR. Ritual dance (Tattooed girls dance on the square of memory) / Tr. PN. Monumental landscape (Red cubic houses, round marketplaces, squares) / Tr. PN. A lullaby (Knots of roads close around villages' necks) / Tr. PN. To those who have been executed (It's true: the rain can wash the blood off a stone) / Tr. PN. First Lyrical Intermezzo: Violets (Violets and the ears of telephone) / Tr. MR. Three stanzas from a notebook (The telephone receiver sings like a bird) / Tr. MR. Houses (The houses grow like mushrooms) / Tr. MR. A grain of barley (I was a fool to sell my soul) / Tr. MR. Second Chapter: The house beyond the star (The anthem of vegetation streams through my veins) / Tr. MR. Song on the indestructibility of matter (Lassoed by wind, blanketed by sky) / Tr. MR. Six stanzas of mysticism (Night falls like a cloak from Christ's shoulders) / Tr. PN. Duet (Slowly we turn to earth as to a cradle) / Tr. MR. Epic evening (Under the banner of copper-leafed beech trees) / Tr. MR. To the beings from a green star (The laws of Bios are the same for all) / Tr. MR. Bulls and beech trees (The river of vegatation echoes over the earth over phalanxes of trees) / Tr. MR. Polaria (Sea froze in a chalice carved of ice) / Tr. PN. Prayer for the souls of drowned girls (We are the pariahs who use women) / Tr. MR. Second Lyrical Intermezzo: To the bottom (I hewed a poem from silver) / Tr. PN. Sunset (Shaggy clouds graze the forest) / Tr. MR. Marriage rite (The rolling of the marriage drum) / Tr. PN & MR. Horseshoes (Spring comes in on a hundred carts) / Tr. MR. Carp (Carp chant and cut the mirror of water) / Tr. MR. A birdcherry poem (The night, warmed by flowers) / Tr. MR. The marketplace (My brother, tailor of children's dreams) / Tr. PN & MR. Winter (Tailors are cutting furs for foxes) / Tr. MR. Third Chapter: Forever (Gray overcoats sink into wine-colored streets) / Tr. MR. The end of the world (Like a moth-eaten blanket) / Tr. MR. Concert from Mercury (Night drops the lid of a box over the anthill city) / Tr. PN & MR. Graveyard of cars (In a graveyard of machines, dead cars sleep like hunks of fractured stars) / Tr. MR. The trumpets of the Last Judgment (Tall buildings hibernate like tired beasts) / Tr. PN & MR. Third Lyrical Intermezzo: A teapot (Opened book, lamp, a lost moth -) / Tr. MR. Morning in the city (Don't drink water after eating fat. Brush your teeth before bed) / Tr. MR. Bitter night (People fall asleep in the black city) / Tr. MR.

Translations are attributed in contents only. Rubchak's critical essay analyses Antonych's poetry book by book and comes to the following conclusion: "From his second book onward, Antonych was carefully orchestrating every collection by excluding much more material than he included. His selections were not motivated by quality alone... They were motivated by the persona that Antonych was carefully constructing - the persona of the poet as Orpheus. The haunting poem "The Home Beyond a Star" is its crowning chord. This poem proclaims the unity of earth and horizon, of immediacy and distance, of transcendence and immanence. But above all it proclaims the unity of poetry and the world." There is an unsigned bio-bibliographical note on the back of the book's cover which says about Antonych and this collection of his poetry: "Probably the most striking aspect of his work is the richness and vividness of his visual imagery, which helps to create an engrossing symbolic system that unites his work. The poems collected here cover his entire creative spectrum, including religious, metaphysical, urban, and pastoral themes."

For identifications of individual poems see Index.

B002. Babij, Mychajlo. Shevchenko's Heritage and Our Action For His Stamp. [Cleveland: Published by the author, 1968]. 240 p. illus.

Title from cover. The author, an artist by profession, was an initiator of a movement in the United States to have Taras Shevchenko honored by the issuance of a commemorative postage stamp. The present book is a compilation of a variety of materials in English, Ukrainian and Polish relating to Shevchenko and the postage stamp action, such as letters written to and from various officials, articles on the topic published in newspapers, proclamations in support of this action by some state governors and city mayors, etc. The book is illustrated with b/w portraits (including some of Shevchenko), reproductions of Shevchenko's art work, photographs of his monuments, etc. The poem "Zapovit" appears in an English translation on p.63: "Taras Shevchenko's legacy (When I shall die, pray let my bones)"/ tr. by C.H. Andrusyshen and Watson Kirkconnell. Eight lines from the poem "Kavkaz" beginning "... our soul shall never perish" in Vera Rich's translation are quoted on p.5.

B003. Borets, Iurii. In the Whirlpool of Combat: a novel of our times / Yuriy Borets. Cover and illustrations by Rostyslav Hluvko. München: Ukrainisches Institut für Bildungspolitik, 1974. 322 p. illus.

Translation of U vyri borot'by: povist' nashoi doby. Foreword by I. Krushelnysky [sic] characterizes this book about the freedom fighters of the Ukrainian Insurgent Army (UPA) as "a book about real people and true, in historical sense, events which took place in the '40s of this century and which the author has experienced, for he himself had been a participant in them."

B004. Chornovil, Viacheslav. The Chornovil Papers. / Compiled by Vyacheslav Chornovil. New York: McGrow-Hill [©1968]. xxi, 246 p. maps.

Contents: Foreword / Zbigniew Brzezinski. Introduction / Frederick C. Barghoorn [pp.ix-xvi]. Maps [pp.xvii-xix]. About Vyacheslav Chornovil. Part I: The petition of Vyacheslav Chornovil. Part II. The misfortune of intellect: Portraits of twenty "criminals"/ Materials compiled by Vyacheslav Chornovil. Appendix: Partial list of published works of the "Criminals".

Viacheslav Chornovil, a Ukrainian journalist born in 1938, was assigned to cover the trials of Ukrainian intellectuals in Lviv in 1965. He was, in the words of the editorial note on p. xxi, "outraged by the court's disregard of Soviet law". As a consequence, he compiled a collection of documents: letters, petitions, diaries and biographies of these intellectuals who were sentenced and deported to Mordovian hard-labor camps. These documents were smuggled out of the Soviet Union and were first published in Ukrainian in Paris under the title Lykho z rozumu (1967). The translation of these documents appears in this book as Part II. The Misfortune of Intellect: Portraits of Twenty "Criminals" [pp.77-226]. Among the twenty intellectuals are a number of Ukrainian writers and literary scholars: Bohdan Horyn', Mykhailo Horyn', Myroslava Zvarychevs'ka, Dmytro Ivashchenko, Mykhailo Masiutko [Mykhaylo Masyutko in text], Valentyn Moroz, Mykhailo Ozernyi [Mykhaylo Ozerny], Mykhailo Osadchyi [Mykhaylo Osadchy], Anatolii Shevchuk, Sviatoslav Karavans'kyi [Svyatoslav Karavans'ky]. A supplement to "Misfortune of Intellect" contains Ivan Dziuba's [Dzyuba] speech in Babyn Yar on 29 September 1966. The bibliography of published works on pp.227-246 lists some early published works of these writers [with Ukrainian titles in English translation]. Brzezinski in his brief foreword stresses the importance of the national question in the USSR. Barghoorn's introduction provides a political background for Ukrainian dissident movement. Chornovil's "Petition" is addressed to the Public Prosecutor, to the Head of the Supreme Soviet and to the Chairman of the State Security Committee at the Council of Ministers of the Ukrainian SSR and brings to their attention what he considers to be "wanton disregard of socialist legality" and "violations of the elementary principles of justice". The book jacket of the hard cover edition has Chornovil's black and white portrait on the back cover, as well as some excerpts from critical comments about the book.

B005. Chyzhevs'kyi, Dmytro. Comparative History of Slavic Literatures. / Dmitrij Čiževskij. Tr. by Richard Noel Porter and Martin P. Rice. Ed., with a foreword by Serge A. Zenkovsky. [Baltimore]: Vanderbilt University Press, 1971. xi, 225 p.

Chyzhevs'kyi, in the words of his editor Serge Zenkovsky, "presents the development of Slavic literature against the background of succeeding literary periods, schools and movements. In each period, he discusses first a literary era, determining its philosophic content, themes, and styles, and then studies the achievements of the Slavic peoples in the given period." Chyzhevs'kyi discusses in this book the literatures of the following Slavic peoples: Bulgarians, Croats, Czechs, Poles, Russians, Serbs, Slovaks, Slovenes, Sorbs, Ukrainians, White Russians. They are discussed side-by-side under chapters devoted to specific periods. Ukrainian literature in chapters III. (The early Middle Ages) and IV. (The late Middle Ages) is ascribed to the Russians, i.e. the literature of the Kyivan Rus': sermons, saints' lives, chronicles, the Slovo o polku Ihorevim, etc. Ivan Vyshens'kyi is mentioned briefly in the chapter on the Renaissance, Skovoroda, Velychkovs'kyi et al. - in the chapter on the Baroque. A couple of sentences are devoted to Kotliarevs'kyi, Kvitka-Osnovianenko and Hulak Artemovskyi in the chapter dealing with classicism; Shevchenko and P. Kulish are mentioned in a comparative context in connection with romanticism; Panas Myrnyi, Nechui-Levyts'kyi, Franko and Kotsiubyns'kyi in connection with realism; Oles', Ryl's'kyi and Tychyna in connection with neoromanticism (modernism).

B006. Chyzhevs'kyi, Dmytro. A History of Ukrainian Literature (from the 11th to the end of the 19th century). / Dmytro Čyževs'kyj. Translated by Dolly Ferguson, Doreen Gorsline and Ulana Petyk. Edited and with a foreword by George S.N. Luckyj. Littleton, CO: Ukrainian Academic Press, 1975. xii, 681 p.

Contents: Foreword / George S.N. Luckyj [ix-xi p.] Transliteration table. Introduction. I. Prehistoric period. II. Translated and borrowed literature. III. The period of monumental style (The eleventh century). IV. The period of ornamental style. V. The literature of the fourteenth and fifteenth centuries. VI. Renaissance and reformation. VII. Baroque. VIII. Literature written in Latin. IX. The literature of "National Revival". X. Classicism. XI. Ukrainian sentimentalism. XII. Romanticism. XIII. "Biedermeier" and the "Naturalist school" in Ukraine. XIV. Realism in Ukrainian literature. Selected bibliography. Abbreviations of names of periodicals, collections and series. Index of names and titles / Alexandra Chernenko-Rudnytsky.

This first comprehensive survey of Ukrainian literature in English is an expanded translation of a work published originally in 1956 under the title: Istoriia ukrains'koi literatury vid pochatkiv do doby realizmu. The author, a world renown Slavist and literary scholar, approaches history of literature through stylistic analysis claiming that "Stylistic analysis revealed that changes in style were the best and most intrinsic criteria for the periodization of literature." "In spite of the great variety of literary styles in European literature," says Chyzhevs'kyi, "it is not difficult to isolate the two basic types with opposite characteristics: love of simplicity, on the one hand, and a preference for complexity, on the other; a preference for clarity based on definite rules of an established framework, on the one hand, and a predisposition to incomplete, fragmented, 'free' form on the other. Similarly, it will be observed that there is either an inclination towards clarity of thought or its opposite - disregard for clarity, based on the belief that 'depth' is more important even if the reader does not always completely understand it; there is an attempt to establish a normalized, 'pure' language or its opposite - a search for a unique, original language, a predilection for verbal games and the use of dialecticisms and jargon; there is an inclination to precision or its opposite - a desire to provide the most complete expression even if this does not contribute to accuracy; there is an attempt to attain an overall impression of harmony or its opposite - tension, movement, dynamism. Representatives of these two differing types of literary styles value different literary qualities: clarity or depth, simplicity or ornamentation, peace or movement, limited or unbounded perspectives, well-defined norms or movement and change, unity or diversity, traditionalism or novelty, etc. On the one hand, the dominant ideal is calm, harmonious beauty; on the other, beauty is not the sole aesthetic value of a literary work - other values are equally important and ugliness finds a place in the aesthetic sphere."

G.S.N. Luckyj in his foreword, while praising Chyzhevskyi's method ("based primarily on literary analysis, without becoming narrowly formalistic") and pointing out Chyzhevs'kyi's "constant regard for deeper cultural and social influences and undercurrents" and his "most illuminating" "concept of modern Ukrainian literature as 'incomplete' and as a product of an 'incomplete nation'," expresses also a critical view that "Alternation of styles alone does not explain the breaks in the literary tradition of Ukraine." Luckyj warns the reader that while Chyzhevs'kyi's "discussion of Ukrainian Baroque or Romanticism shows not only great erudition, but an ability to relate these literary periods to other Slavic and non-Slavic literatures", his last chapter on Realism, prepared especially for the English edition, "is treated as a transitional one" and will need to be supplemented by other volumes dealing with 20th century Ukrainian literature.

See also the book length critique of Chyzhevs'kyi's work by George Grabowicz Toward a History of Ukrainian Literature [cf. A405, ULE, 1980-1989, B040].

B007. Condemned by History. A collection of pamphlets and articles. [Compiled and introduced by Taras Mihal. Tr. from the Ukrainian by Anatole Bilenko]. Kiev: Dnipro, 1978. 213 p.

Translation of Pryrecheni istoriieiu: zbirnyk pamfletiv i statei. The contributors to this book - Rostyslav Bratun, Iurii Mel'nychuk [Yuri Melnichuk], Mykola Toporovs'kyi [Mikola Toropovsky], Iaroslav Halan, Petro Kozlaniuk [Kozlanyuk], Volodymyr Beliaiev [Volodimir Belyaev], Mykhailo Rudnyts'kyi [Mikhailo Rudnitsky], Volodymyr Vil'nyi [Volodimir Vilny], Taras Myhal' [Mihal], Iurii Smolych [Yuri Smolich], Fedir Malanchuk, Antin Khyzhniak [Anton Khizhnyak] and Vasyl' Mykytas' [Vasil Mykitas] - are well known Soviet Ukrainan writers or critics. The book itself, however, is not a collection of literary sketches, but a piece of political propaganda, an attempt to discredit the activities of "Ukrainian bourgeois nationalists", both at home and abroad. Only two articles have some relevance for Ukrainian literature: i.e. "Sanctities disowned" by Iurii Smolych (pp.192-201) which tells the story of Platon Stasiuk who brought a sample of the "sacred earth from Shevchenko's grave" in order to have it placed under the newly errected Shevchenko monument in Washington, but was rebuffed by the Shevchenko Memorial Committee. The second article with literary relevance is "Engaged by fascism" by Vasyl Mykytas' (pp.209-214), which attempts to discredit the émigré Ukrainian novelist Ulas Samchuk residing in Toronto, Canada.

B008. Cooper, Henry R., Jr. The Igor Tale: an annotated bibliography of 20th century non-Soviet scholarship on the Slovo o polku Igoreve. White Plains, N.Y.: M.E. Sharpe; London: Mansell, 1978. 130 p. (Columbia Slavic studies).

This bibliography on the Slovo o polku Ihorevim attempts a comprehensive coverage of books, articles and book reviews in various languages published since 1900 in the United States, Canada, Great Britain, France, Germany (both GDR and FRG), Austria, Switzerland, Italy, Benelux, Scandinavia, Poland, Czechoslovakia, Yugoslavia and Bulgaria. There are, in addition, a few entries for other countries, some unpublished dissertations, as well as a three-page listing of bibliographies on Slovo published in the USSR. The author's introduction surveys the world-wide Slovo scholarship and sets out the scope of his bibliography. The bibliography itself is arranged according to the following categories: 1. Bibliographies; 2. Texts, translations and commentaries; 3. Linguisitc analyses; 4. Literary analyses; 5. Historical analyses; 6. Reviews of Soviet scholarship. All entries are numbered and most entries have cryptic one sentence annotations. An index is provided which makes the retrieval by author and title possible. The appendix contains the original text of Slovo o polku Ihorevim - in Roman Jakobson's fifth reconstruction.

B009. De, Olexander. Stalin: Persona Non Grata. A verse-play in three acts. London: Mitre Press [c1969]. 102 p.

The author's own English version of his play in verse published originally in Ukrainian under the title Persona Non Grata: Portret (London: Chaika, 1967. 123 p.). Olexander De is the pseudonym of Alexander Barchuk, who writes both in Ukrainian and in English.

B010. De, Olexander. Without Tears. Poems. London: Mitre Press, 1966. 67 p. port.

Without Tears, according to a bio-bibliographical note on the front flap of the book's cover, is Olexander De's first book written in English. As such it is, outside the scope of this bibliography, except for a section entitled "Free translations of Ukrainian popular and folk songs" included on pp. 59-67, the contents of which is as follows:

White chestnut trees (White chestnut trees and dancing light) / A.S. Malyshko. Our Miner's Estate (At the Miners' Estate when I) (Ukrainian folk song). Marichka (Like a silver ribbon, runs along the valley) (Ukrainian popular song). O, my sweet darling (O, my sweet darling, nice as a flower) (Ukrainian folk song). Rushnychok (Long ago I left home) / A.S. Malyshko. Ride, my cossack, ride (Ride, my Cossack, ride across the wide green prairies) (Ukrainian folk song). I look at the blue sky (I look at the blue sky and can't stop to wonder) / M. Petrenko. Karii ochi (Your hazel eyes, dear, karii ochi) (Ukrainian folk song). Blow, blow, wind to my Ukraine (Blow, blow, wind to my Ukraine) (Ukrainian folk song).

These represent free renderings in English of the following songs: Pisnia pro Kyiv (Bili kashtany) / Andrii Malyshko. Marichka (V'iet'sia, nache zmiika) / M. Tkach. Oi ty, divchyno, z horikha zernia (Oi ty, divchyno, z horikha zernia) / Ivan Franko. Pisnia pro rushnyk (Ridna maty moia, ty nochei ne dospala) / Andrii Malyshko. Dyvlius' ia na nebo (Dyvlius' ia na nebo, ta i dumku hadaiu) / Mykhailo Petrenko. Chornii brovy, karii ochi (Chornii brovy, karii ochi) / Kostiantyn Dumytrashko. Povii, vitre, na Vkrainu (Povii, vitre, na Vkrainu) / Stepan Rudans'kyi and two additional unidentified folk songs.

B011. Dimarov, Anatolii. Across the Bridge. / Anatoly Dimarov. Tr. from the Ukrainian by Yuri Tkach. Melbourne: M.U.U.S.C., 1977. 198 p.

Contents: Foreword / Yuri Tkach. Across the bridge: By the window. The watchman's wife. Twenty copecks. Brando. Teacher's son. Mud pancakes. Some advice. A burial to remember. Such is my luck. The insult. [Other stories]: Blue angel. Dry dock. Mother and son. Snow skis. Woman with a child.

Translation of the stories collection Cherez mistochok, originally published in 1957, as well as five additional stories, namely "Blakytna dytyna" "Dok", "Maty i syn", "Lyzhvy na snih" and "Zhinka z dytynoiu".

The brief foreword by the translator characterizes Dimarov as a writer who "develops his characters with deep psychological insight; seemingly unimportant incidents reflect on the common denominator of human character, which transcends all national boundaries".

B012. Domazar, Serhii. Castle on the Voday. / A novel by Serhij Domazar. Sydney: Zeta Press, 1971. 225 p.

Translation of Zamok nad Vodaiem. A note on the verso of the title page identifies the novel as one published originally "in the Ukrainian literary magazine Sucasnist, then as a book in 1964..." Apparently, the author's own English translation, revised by Douglas Watson and Joyce Challis. There is no introduction or preface of any kind and no bio- bibliographical note about the author. Two brief excerpts from reviews of the Ukrainian edition by H. Kostiuk and Vadym Svaroh appear on the back cover.

B013. Dovzhenko, Oleksandr. "Earth" / a film by Alexander Dovzhenko. Classic Film Scripts: Mother, a film by V.I. Pudovkin; Earth, a film by Alexander Dovzhenko. New York : Simon and Schuster [1973]. 102 p. ["Earth": p.59- 102]. illus.

Translation of Zemlia. Title on cover: "Two Russian Film Classics: Mother / Pudovkin, Earth / Dovzhenko". A note on p.4 says, among other things: "The versions of the two great Russian classics presented here are taken from the scenarios originally published in Russia and intended in each case as a literary rendering of the film....The version of Earth, translated by Diana Matias, is taken from a volume entitled Zemlya: Knyiga-Film, edited by Yu. Solntseva and G. Maryamov, published in Moscow in 1966." Credits listed on p.57 show Dovzhenko as both the author of the scenario and director. An untitled note by the translator, Diana Matias, says the following: "Dovzhenko originally wrote the script of Earth in 1929 when the impact of collectivisation on the Ukrainian village was a moment of its recent history... Of this first shooting script only isolated fragments have survived. The scenario published here not only reverses the usual script/film order, but is separated from the cinematic work by an interval of some twenty years. Dovzhenko himself described it as 'a kind of literary equivalent' of the ideas he had put into his film... What chiefly distinguishes this version is the introduction of a narrator through whom events and characters are personalised; this is particularly strongly felt in the introductory passage centring [sic] on the death of grandfather Semyon. The interest of this innovation in relation to the film lies in the fact that the narrator is both film-maker and spectator at once, and therefore opens the way for comment on the choices which brought certain images to the screen and reflections on their form. Implicitly too, there is an element of hindsight in the narrator's stress on the film's 'muteness' and its implications for the film-maker, actors and spectator; the intervening years had seen a major transformation in cinematic techniques and the effects of sound on the art of scenario writing was a question which prompted one of Dovzhenko's relatively rare excursions into theoretical writing. Originally written in Ukrainian, this version was completed by Dovzhenko four years before his death in 1956." The book contains 23 b/w illustrations from the film Zemlia.

The film directed by Vsevolod Pudovkin is based on the novel of Maxim Gorky. The author of the scenario is Nathan Zarkhy. In some libraries, therefore, this book may be found under the entry for "Zarkhi, Natan Abramovich. Mother."

B014. Dovzhenko, Oleksandr. The Enchanted Desna. A film story by Olexandr Dovzhenko. [Tr. from the Ukrainian by Anatole Bilenko. Illustrated by Olexandr Ivakhnenko. Kiev: Dnipro, 1979]. 73 p. illus.

Translation of Zacharovana Desna. The unsigned one-page introduction about Dovzhenko and his films says, among other things: "In 1942, in his diary, Dovzhenko made the first entries about his childhood, which he later used in the autobiographical story The Enchanted Desna (1954-1955)... The Enchanted Desna is a real poem about the making of man, about the inner beauty of those who work on the land, and about the charming nature of the author's native countryside. The whole book is imbued with deep lyricism and gentle humor. There is no exaggeration in saying that by writing this realistic and philosophical story Olexandr Dovzhenko provided readers with a key to understanding his works."

B015. Dovzhenko, Oleksandr. The Poet as Filmmaker: selected writings. / Alexander Dovzhenko. Ed., tr. and with an introd. by Marco Carynnyk. Cambridge. MA; London: MIT Press [©1973]. lv, 323 p. port.

Contents: Translator's note [pp.vii-viii]. Introduction: the mythopoeic vision of Alexander Dovzhenko [pp.ix-lv]. Autobiography. Notebooks. Chronology. Filmography. Notes. Index.

Translation of Oleksandr Dovzhenko's notebooks and diaries from 1941 to 1956 as collated from various Soviet Ukrainian and Russian sources. In his extensive introduction Carynnyk discusses Dovzhenko's life and work, analyzes his films and surveys the existing international acclaim by film critics. "Taking the whole of Alexander Dovzhenko's output, writings as well as films, one realizes quickly that he was a stubbornly single-minded man," says Carynnyk. "Posessed of a strongly mythopoeic imagination, he had the ambition to create a vast synthesis, both literary and cinematic, into which he could fold history, mythology, and personal beliefs. Few film directors have produced so unified a body of work as Dovzhenko."

B016. Drach, Ivan. Orchard Lamps. Edited and introduced by Stanley Kunitz. With woodcuts by Jacques Hnizdovsky. Translated by Daniel Halpern, Stanley Kunitz, Paul Nemser, Mark Rudman, Paula Schwartz and others. New York City: The Sheep Meadow Press [©1978]. 71p. illus.

Contents: Introduction / Stanley Kunitz [pp.1-4]. Part One: Sunflower (The sunflower had arms and legs). / Tr. D.H. Babi Yar (July 22 1966 at five in the afternoon). / Tr. D.H. Old man Hordij (The dark stops me at the doorway). / Tr. P.S. Bread (Crack the egg. Glaze the loaf). / Tr. P.N. & M.R. The pail (I am - zinc is my form. And I contain - cherries). / Tr. S.K. & Gregory Orr. The Hula-hoop (I fly through crowds of hot-eyed women). / Tr. P.S. Pen (My firetipped scalpel). / Tr. P.N. & M.R. Pine tree (The old tree vibrates like a stretched bass-string). / Tr. P.S. La Strada (La strada, a saber of curved steel). / Tr. P.N. & M.R. The word (The cello gutters out. The contrabass). / Tr. P.N. & M.R. Prokofiev's sonata. I.(Blue chorales carry the heart). II. (Tired soccer players). III. May the road to eternity be paved). IV. (Let me tap this branch, the violin's bowstick, and decant). V. (I love his black firestorms). VI. (Touched by your music, my seventeen-year-old girls)./ Tr. P.N. & M.R. Synthesis (Banquet of storm. Thunder rolls). / Tr. P.N. & M.R. A girl's fingers (God, what cries inhabit fingers). / Tr. P.S. The cranberry-rose (I don't know. I don't know where waves). / Tr. D.H. Dialogue of the genes: I. (The gene for hazel eyes dominates). II. (Who am I, you ask, who am I?). / Tr. P.N. & M.R. Part Two: Forest (A gale subdues the trees). / Tr. P.S. Wings (Through forests and jungles, crisscrossing the sea). / Tr. P.N. & M.R. The only one (Of all your fantasies). / Tr. D.H. Father (Where tons of sugar beets rock in the wind). / Tr. P.N. & M.R. Why, do you think... (Why, do you think, I pick up my pen?). / Tr. D.H. Spinoza (Taught and overtaught). / Tr. P.S. Woman and sea ( Sea, I came out of you. Sea, I return to you). / Tr. P.N. & M.R. White candle (Somewhere on the floor of my nights). / Tr. Carol Muske. Work and leisure (One room on the left). / Tr. P.S. from Triptych about words (How do I know my own words). / Tr. P.N. & M.R. August (August, a golden wing, turns to ash). / Tr. P.N. & M.R. Knife in the sun: Prologue (My years tread on my heels). Open the heart (I threw my white cape and bright scarf). Stranger (I come from the underworld. Like it or not). I: (Quiet! I'll drink). Funeral of the head of a collective farm (They carried him with their knotty hands). Invisible tears of a wedding (Hey, make a circle, travelers! Give them a drink!). Studio portrait: Ukrainian horses over Paris (This breathing world was not molded by God). / Tr. D.H. Notes to the poems [pp.69-71]..

"Drach's mind generates so much light that he is capable of making even the homeliest objects radiant," writes Stanley Kunitz in the introduction. He finds in Drach's work "a vein of Slavic mysticism... not always distinguishable from a romantic drift towards afflatus and murkiness. The best of his poems begin with brilliant perceptions, or concrete instances, and climb, with an explosion of images, towards the realm of the transcendent."

This book of translations originated "as a workshop project in the graduate writing program of the School of the Arts at Columbia University and continued, as a voluntary commitment, for an extended period thereafter." The introduction acknowledges the assistance of Bohdan Boychuk and Jaroslav Rozumnyj who supplied the literal translations from the Ukrainian.

There are 16 full page woodcuts by Jacques Hnizdovsky in text; another woodcut is used for the book's cover. However, one woodcut listed in the contents of illustrations as appearing on endpapers is absent from this paperback edition. Two snapshots of Drach and of Drach with Kunitz appear on the paperback's back cover. Another edition of Orchard Lamps, published by Exile Editions in Toronto in 1989, has exactly the same contents, but has a different design for the cover and for the title page, contains one extra woodcut by Hnizdovsky, and has a couple minor changes, including two typographical errors (on the title page and in contents). [cf. ULE, 1980-1989, B027]. For identifications of individual poems see Index.

B017. Dziuba, Ivan. Facets of a Crystal / Ivan Dzyuba. Kiev: Ukraina Society, 1976. 136 p.

Translated from the Ukrainian by George Sklyar. Copyread and edited by Gladys Evans. The booklet deals mostly with the cultural interaction between the peoples of the USSR, the so called "rapprochement of nations", and with a polemic against Ukrainian "bourgeois nationalists". Ukrainian literature is surveyed in two chapters on Soviet Ukrainian culture on pp.79-116. "This brochure", says Dziuba, "points out the place Ukrainian socialist culture holds within Soviet culture, some of its most significant attainments, the ways and means of its interaction with other national cultures within a supreme, complete whole - the single socialist culture of the Soviet people." "There was a time in the past", says Dziuba, "when I entertained profoundly erroneous, fallacious ideas with regard to certain aspects of the aforementioned subject - namely, the condition of Ukrainian culture and literature, as well as the national question in general... Upon realizing the baselessness and falsehood of my outlook.... I made a definite rebuttal of my views...[in a statement published in Literaturna Ukraina, on 9 November 1973]. But I still feel obliged to return to this subject in order to enlarge my knowledge of the factual situation and better understand it from the Marxist-Leninist standpoint." [See also B018, B019, B020].

B018. Dziuba, Ivan. Internationalism or Russification? A study in the Soviet nationalities problem. / Ivan Dzyuba. Pref. by Peter Archer. Ed. by M. Davies. London: Weidenfeld and Nicolson [©1968]. xix, 240 p.

Translation of Internatsionalizm chy rusyfikatsiia? Archer in his preface characterizes the book as "a study of the relationship between the Russian and the Ukrainian peoples... ", as an "example of the frustrated aspirations, the restrictions upon choice, and the consequent resentments generated by a failure to understand why people care for a national and cultural inheritance."

Introductory article entitled "The author and his book" provides a biography of Ivan Dziuba and a report on the reaction to Dziuba's work abroad and at home. Originally, this book, according to the introduction, was meant to be "a thorough examination of the historical background of the nationalities problem, of the Leninist policy on it, and of its subsequent abandonment, and the means whereby it should be restored" and it "was presented to the leaders of the Communist Party and the government of the Ukrainian SSR."

The publisher's note on the front flyleaf says, among other things: "This study, emerging as it does from the USSR, is remarkable for its courageous statement of the facts combined with the depth and scope of its scholarly analysis, and I. Dzyuba's own immediate and constant experience of the problems discussed lends to his work an authority which that of outside experts can never have."

B019. Dziuba, Ivan. Internationalism or Russification? A study in the Soviet nationalities problem / Ivan Dzyuba. Pref. by Peter Archer. Ed. by M. Davies. 2nd ed. London: Weidenfeld and Nicolson [October 1970]. xx, 263 p.

Translation of Internatsionalizm chy rusyfikatsiia? [cf. Annotation to the first ed. B018]. There is an added "Postcript to the second edition" on pp.233-250. The unsigned postcript discusses the reaction in the USSR to the publication of the first English edition, especially the book by Bohdan Stenchuk, first published in Ukrainian and then translated and published in English [Bohdan Stenchuk: Shcho i iak obstoiuie I. Dziuba (Shche raz pro knyhu Internatsionalizm chy rusyfikatsia). Kiev: URSR Tovarystvo kul'turnykh zviazkiv z ukraintsiamy za kordonom, 1969, 196 p. = B. Stanchuk [sic]. What I. Dzyuba Stands For, and How He does It? (Once more about the book Internationalism or Russification). Kiev: Ukrainian SSR Association for Cultural Relations with Ukrainians Abroad, 1970. 196 p.]. Says the editor: "...it is natural to regard Stenchuk's book as an officially-sponsored reply to Dzyuba aimed at his readers abroad. In content and purpose patently a denunciatory review of Dzyuba's work, it runs into practically half the length of his book. This fact alone demonstrates how seriously Dzyuba's book is taken, since it was deemed to need the counterblast of these dimensions". The postscript refutes one by one Stenchuk's accusations. Stenchuk's book, according to this postscript, was not made available to the general Soviet reader, but nonetheless it marked "the beginning of an intensive campaign against Dzyuba in the Ukrainian SSR". In this connection an article in Literaturna Ukraina (5 August 1969, p.4) by L. Dmyterko and the proceedings to stript Dziuba of his membership in the Writers' Union of Ukraine are analyzed in some detail. Dziuba's statement addressed "To the Presidium of the Writers' Union of the Ukraine" dated 26 December 1969 is printed in an English translation on pp.248-249.

B020. Dziuba, Ivan. Internationalism or Russification? A study in the Soviet nationalities problem / Ivan Dzyuba. [3rd ed.]. Pref. by M. I. Holubenko. New York: Monad Press; Distributed by Pathfinder Press [©1974]. xxiv, 262 p. (Soviet studies).

Translation of Internationalizm chy rusyfikatsiia? For 1st and 2nd English editions see B018 and B019. This paperback edition has a note about the author and excerps from reviews of the book on the back cover. The excerpts characterize the book as "a penetrating philosophical and historical analysis of ... the abandoned principles of the Leninist nationalities policy and the corruption of the ideals of true internationalism..." Dziuba is characterized as one who "won fame as a literary critic" who wrote the book in late 1965 "in defense of arrested Ukrainian dissidents who argued that official Soviet policy discriminated against non-Russian minorities. In March 1972 he was expelled from the Writers' Union, and was subsequently arrested and sentenced to five years imprisonment. After giving in to heavy pressure to recant his ideas, he was released in November 1973." Holubenko's preface [pp.v-xxiv] characterizes the book as "an impressive marshalling of evidence from a Marxist-Leninist point of view to demonstrate the devastating political, social, economic, and cultural effests of Stalin's nationalitities policy, and the continuation of these policies by succeeding post-Stalin regimes" and provides [on pp.xvi-xxiii] a biography of Ivan Dziuba. Notes to this edition [pp.217-228] include statistical tables of book production in the Ukrainian SSR. Postscript to the second edition is reprinted on pp.233-250.

B021. An Early Slavonic Psalter from Rus'. Saint Catherine's Monastery, Mount Sinai. Vol.1: Photoreproduction. Ed. by Moshé Altbauer, with the collaboration of Horace G. Lunt. Cambridge, MA: Distributed by Harvard University Press for the Harvard Ukrainian Research Institute [©1978]. x, 179 p. (Harvard Ukrainian Research Institute. Sources and documents series).

A full mechanical photoreproduction of what is described in the preface as one of the oldest East Slavic manuscripts, "the oldest representative of a tradition that was dominant in Rus' before about 1400..." "The manuscript must have been written within a decade or two of 1100," says Altbauer. The present book contains only the reproduction of the original manuscript with a four page preface [pp.vii-x]; scholarly commentary, according to Altbauer, "will be offered in a companion monograph."

B022. The Eyewitness Chronicle. Part I. Reprint of the Orest Levyc'kyj edition (Kiev, 1878). With an editor's pref. and including the essay by Myxajlo Hruševs'kyj: Some reflections on Ukrainian historiography of the XVIIIth century. München: Wilhelm Fink, 1972. 16*, 468 p. (Harvard series in Ukrainian studies, v.7,I)

A photomechanical reproduction of the 1878 Kyiv edition of Litopys samovydtsia. The only English language material in the book are the editor's preface signed by Omeljan Pritsak [pp.5*-8*] and, instead of an introduction, the essay by Mykhailo Hrushevs'kyi translated by Zenon Kohut. Litopys samovydtsia, one of the monuments of Ukrainian historiography known as the "Ukrainian Cossack chronicles", according to Pritsak, was written by an unknown author sometime between 1672 and 1702. Hrushevs'kyi's essay [pp.9*-16*] discusses the importance of the Cossack chronicles in general and states: "...even while losing significance as historical sources for the seventeenth century events described in them, these works did not suffer as historico-literary monuments of their time. On the contrary, with the deepening study of the dynamics of literary creation and, more broadly, of the cultural and social processes of seventeenth-century Ukraine, the relative importance of the historical works produced in this epoch increased."

B023. Ferment in the Ukraine. Documents by V. Chornovil, I. Kandyba, L. Lukyanenko, V. Moroz and others. Foreword by Max Hayward. Ed. by Michael Browne. [London]: Macmillan [1971]. xviii, 267 p. maps.

A collection of documents [most of which are from the unofficial Soviet sources] about political dissent in the Ukrainian SSR. Of interest to literary scholars are especially Part Three which contains "A report from the Beria reservation" by Valentyn Moroz [pp.119-153] and Parts Four: "The Chornovil case" [pp.157-171] and Five: "The Aftermath" [pp.175-207] which consist of statements, declarations, letters and appeals from or on behalf of various dissidents, many of whom are Ukrainian writers. Among the materials included is an article by Oleksii Poltorats'kyi [Oleksiy Poltorats'ky] "Whom do certain 'humanitarians' protect", published originally in Literaturna Ukraina (16 July 1968), and a rebuttal to this article - an open letter to the editors of Literaturna Ukraina signed by Ivan Dziuba [Dzyuba], Ievhen Sverstiuk [Yevhen Sverstyuk], Mykhailyna Kotsiubyns'ka [Mykhaylyna Kotsyubyns'ka], Lina Kostenko and Viktor Nekrasov [pp.200-207].

B024. The Flying Ship and Other Ukrainian Folk Tales. Tr. by Victoria Symchych and Olga Vesey. Illustrated by Peter Kuch. Toronto: Holt, Rinehart and Winston of Canada [©1975]. 93 p. illus. (part col.) (10 full page col. plates).

Contents: Gossipy Paraska. The sled. The lion in the well. The frog princess. The story of a donkey / by Ivan Franko. The linden tree and the greedy old woman. The old man's daughter and the old woman's daughter. The rabbit and the frogs. The donkey and the lion / by Ivan Franko. A visit in the grave. Strange feet. A war between the dog and the wolf / by Ivan Franko. The flying ship.

There is no introductory material of any kind. Of the three stories by Franko two are identified as translations of "Osel i lev" "Viina mizh psom i vovkom". The third could not be identified. In addition to black and white drawings the book has ten full page plates in color.

B025. Folk Heroes of Ukraine. Tr. and adapted from Ukrainian by Mary Skrypnyk. Illustrations by O. Danchenko. [Toronto: Ukrainian Canadian, 1966]. 52 p. illus.

Contents: A word from the translator [p.3] / Mary Skrypnyk. The Cossack republic / Olena Opanovich [pp.8-19]. Severin Nalivaiko / Ivan Le. Taras Tryasilo / I. Rodachenko. Bohdan Khmelnitsky / Natan Rybak. Maksym Krivonis / Petro Panch. Ivan Bohun / Mykola Zarudny. Ivan Sirko / Anatoly Shiyan. Semen Paliy / Yuriy Mushketyk. Oleksa Dovbush / Volodimir Hzhitsky. Ivan Honta / Mykola Sirotiuk. Ustym Karmaliuk / Vasil Kuchir.

Brief biographical sketches of Cossack and legendary heroes written by well-known Soviet Ukrainian writers - Ivan Le, I. Rodachenko, Natan Rybak, Petro Panch, Mykola Zarudnyi, Anatolii Shyian, Iurii Mushketyk, Volodymyr Gzhyts'kyi, Mykola Syrotiuk and Vasyl' Kucher - with a historical background provided in the introduction by Olena Opanovych. Illustrated with Danchenko's portraits of Nalyvaiko, Triasylo, Khmel'nyts'kyi, Kryvonis, Bohun, Sirko, Palii, Dovbush, Gonta and Karmeliuk, as well as other illustrations. A b/w reproduction of an oil painting "Cossack leaves for the Sich" by L. Zhemchuznitsov appears on p.7. According to Mary Skrypnyk, the translator, these sketches were published originally in the Kyiv weekly magazine Ukraina and later, in 1963-1964, in her English translation in the Toronto based journal Ukrainian Canadian.

B026. Four Ukrainian Poets: Drach, Korotych, Kostenko, Symonenko. Tr. by Martha Bohachevsky-Chomiak and Danylo S. Struk. Ed., with an introd. by George S.N. Luckyj. [n.p.]: Quixote, 1969. 83 p. ports.

A parallel text edition of the poetry of Ivan Drach, Vitalii Korotych, Lina Kostenko and Vasyl' Symonenko, with the poets' portraits and an introductory essay (slightly over three pages on unnumbered front pages) by G.S.N. Luckyj which provides some background and bio- bibliographical data on the poets. A brief note on the translators and the editor appear on the last unnumbered page of the book.

Contents: Ivan Drach: / Tr. by M. Bohachevsky-Chomiak: Protuberances of the heart (We hear the green glare of the grass). Wings (Offbeat, through the street). Loneliness (That - you call loneliness?). The pen (My pen - My fiery scalpel). Black etude (I wear your lips). Fingers of a girl (God, the groans there are in fingers). Ballad of the laundered pants (The night painted the sky a blue earthenware vase). The ballad of DNA - Deoxyribonucleic acid (Secrets of heredity - a flight of the firebird). *** (The sea-breeze here wears shorts). Vitaliy Korotych: / Tr. by M. Bohachevsky-Chomiak: Triptych (I. I am Shevchenko, II. Love her, III. It all happened). *** (Poets! Teach the planet goodness). *** (I spit on the words "general"). Evening (The evening threads itself into the peaks). Mirror (I'm a mirror). Lina Kostenko: / Tr. by D.S. Struk: The ferns (Late, late at night). Laughter (Through my window, from the street). Stars (When nights are cold the stars contract). The rains (Winds whittle a lightning). *** (There are verses like flowers). *** (Some want a crust of bread). The white symphony (We saw nothing funny then). The sun rises (The sun rises; a bright crimson). Bequests (There are various bequests). A passage of pain (On top of all this beastly hurt). Vasyl Symonenko: / Tr. by M. Bohachevsky- Chomiak. [Ballad about a stranger / Tr. by D.S. Struk]: Ballad about a stranger (On a green Holy Day, from afar). The court (Sections sat sternly at the table). Ode to a corn cob which died at the supply depot (No sobs are heard. The orchestras rust). Thief (Grandpa was detained and caught). *** (I flee from myself from pain and from exhaustion). Choir of the elders from the poem "Fiction" (Our kind is wise from birth). To parrots (You, who throw words into the crowds). Monarchs (Dictators, kings, emperors). The prophecy of 1917 (The granite obelisks, grizzly medusas).

These represent translations of the following poems: Drach: Protuberantsi sertsia (My chuiem trav zelenyi kryk). Kryla (Cherez lis-perelis). Samotnist' (Khiba zh tse samotnist', koly ob stinu). Pero (Pero, mii skal'peliu vohnennyi). Chornyi etiud (Ia noshu tvoi huby). Divochi pal'tsi (Bozhe, skil'ky stohonu na pal'tsiakh). Balada pro vyprani shtany (Nich rozpysala nebo v syniu domashniu vazu). Balada DNK -dezoksirybonukleinovoi kysloty). *** (Tut bryz khodyt' v shortakh). Korotych: Tryptykh (I. Ia- Shevchenko, II. Pokokhaite ii, III. Rozkazhit' meni, iak tse vidbulosia). *** (Poety! Vchit' planetu dobroti). *** (Ia znevazhaiu slovo "vzahali"). Vechir (Vzhe sontse nanyzalos' na shpyli). Dzerkalo (Ia - dzerkalo). Kostenko: Paporot' (Ptytsi zeleni). Smikh (Na vulytsi - ia chuiu kriz' vikno). Zori (V kholodni nochi zvazhuiut'sia zori). Doshchi (Viter blyskavku vystruha). *** (Ie virshi - kvity). *** (Komus' - shchob khliba skybka). Bila symfoniia (Bulo nam todi ne do smikhu). Sontse skhodyt', iasnyi obahrianok. Estafety (Rizni buvaiut' estafety). Pasazh boliu (Malo vs'oho - shche i tuhu tsiu vovchu). Symonenko: Balada pro zaishloho cholovika (Na sviato zelene z hustykh zaplav). Sud (Parahrafy prysily bilia stolu). Nekroloh kukurudzianomu kachanovi, shcho zahynuv na zahotpunkti (Ne chuty holosin'. Irzhaviiut' orkestry). Zlodii (Diad'ka zatrymaly chy vpiimaly). *** (Ia tikaiu vid sebe, vid muky i vtomy). Khor stariishyn z poemy "Fiktsiia" (Poroda nasha mudra vid pryrody). Do papuh (Vy, shcho slova u iurbu metaiete). Monarkhy (Dyktatory, koroli, imperatory). Prorotstvo 17-ho roku (Hranitni obelisky, iak meduzy).

B027. Franko, Ivan. Fox Mykyta: Ivan Franko's Ukrainian classic. English version by Bohdan Melnyk. Illustrated by William Kurelek. [Montreal]: Tundra Books [©1978]. 148 p. illus.

Ivan Franko's long poem Lys Mykyta retold in a free English prose version by Bohdan Melnyk, with black and white drawings [of which 48 are full page] by the well-known Canadian Ukrainian artist William Kurelek. A note on the front cover flap describes this as "the first English version of Ivan Franko's 1890 classic" and says about Franko's work: "Lys Mykyta is one of The Best of the Best children's books of the world, listed by the International Youth Library, Munich and heads every list of the best of Ukrainian literature for both adults and children. Older readers will appreciate the strong social and political satiric elements reminiscent of Swift and Voltaire." The back cover has the following characteristic of Lys Mykyta: "To Ukrainian children it is as well known as Mother Goose is to English children, but it is also so cherished by adults that many know the whole poem by heart - 607 stanzas of six lines each, a total of 3,642 lines! Obviously, any work so intensely loved is more than just a good story that amuses and intrigues. To Ukrainians, Lys Mykyta represents the independence and effectiveness of the individual. Fox stands alone and wins against all odds; he never surrenders to fear or pessimism, even with the mob clamoring for his death and the noose tightening around his neck; he turns the weapons of his attackers back upon them and does it with style and wit; he shows that the individual counts and can triumph no matter how powerful or numerous the enemy." There is, by way of an introduction, a poem "From the translator (I am inviting you hereby)" on p.7. and extensive biographical notes about the author, the artist and the translator on unnumbered pages at the end of the book. Franko is characterized in the biographical note as "a great writer of the Ukrainian revolutionary, democratic movement", who although "a nationalist", "remained politically non-doctrinaire and took a critical attitude toward Marxism". William Kurelek, an artist who died in 1977 at the age of 50, is characterized as "an exceptional figure in art, both in Canada and abroad" who from the 1960's on "enjoyed steadily increasing critical and financial success." The translator, according to the biographical note, was born 1914 in Western Ukraine, emigrated to Canada after World War II and became a Canadian citizen in 1956.

B028. Franko, Ivan. Ivan Franko: the Poet of Western Ukraine. Selected poems. Tr. with a biographical introd. by Percival Cundy. Ed. by Clarence A. Manning. New York: Greenwood Press, 1968 [©1948]. 265 p., port.

A photomechanical reprint of the 1948 Philosophical Library edition. [cf. ULE: Books and Pamphlets, 1890-1965, B20].

Contents: Percival Cundy (pp.vii-viii). Preface / Clarence A. Manning (pp.ix- xix). Contents. [Introduction / Percival Cundy, pp.1-96]: Ch.I. The times and the man. Ch.II. Childhood and schooldays. Ch.III. Life at the university. Ch.IV. Literary tribulations. Ch.V. Widening literary and political activity. Ch.VI. At the height of his powers. Ch.VII. Tragic illness and death. Selected poems: Hymn (The eternal spirit of revolt). Two early sonnets: Folk song (Behold the spring which gushes from that grave). Kotlyarevsky (A mighty eagle on a snowy height). The hired hand (He sings a mournful song, his hands upon the plough). The pioneers (I saw a vision strange. Stretched out before me lay). The great outburst of song: Spring song (Old Winter marvelled much). Spring scene (The sun already shining strong). What life gave (I have not lived long in this world). Remembrance (Into the sea of tears that violence). Semper idem (Swim against the tide). The enemy (The folk are not our enemies). Forsaken (My fellows have forsaken me!). Work (As iron which possesses magic power). Ukraine: My love (So lovely is she, for she shines). National hymn (No longer, no longer should we). Christ and the cross (In the fields, beside the roadside). The years of poetic scarcity: Forget not (Forget not, ne'er forget). Autumn wind (O autumn wind! who o'er the trees dost moan). The duel (The smoke rolled up in clouds. The cannon roared). To a young friend (Why is thy head sunk down in thoughtful pose). What makes song live? (Each of the songs I've sung). Idyl (Long years ago this was. Two children small). The passing of serfdom: From The Passing of serfdom: Canto VI. The old village priest (Our priest was old, a timid sort). Canto XV (That cursed winter passed at last). Canto XVI (The master and his wife were out). Canto XVII (The master's kennels were well known). Canto XVIII (That Easter Day! Great God; so long). The Death of Cain: From The Death of Cain (At last one day, at eventide it was). From Prison sonnets: Visions (In prison dreadful visions visit me). The two goddesses (In sleep two goddesses appeared to me). The dove (A hermit was sitting by his lonely cell). A legend of Pilate (So Pilate yielded Christ to their demands). The sonnet (In sonnets once did Dante and Petrarch). From Withered leaves: Thine eyes (Thine eyes are like the deep, deep sea). Pride (Ne'ev pass by with scornful laugh). Destiny (Ah, destiny! I utter no complaint). Noon (Noon again). The plane tree's green (The plane tree's green, the plane tree's green). The cranberry ("Cranberry crimson, why dost thou bend low?). The little dove (Ah, woe is me, alas!). The little pathway (Here is the little pathway). At thy window (If at thy window thou shouldst chance to hear at night). The gillyflower (Though thou as flower wilt not win renown). Waning powers (Like ox 'neath the yoke, and day after day). Hymn to Buddha (All hail, Buddha, to thee!) A parable about life (In India 'twas. Across a lonely plain). Festal centennial ("Aeneas was a lusty chap). Ivan Vyshensky: I. (A pyramid of green it floats). II. (The bells are ringing on the Mount). III. (The bells are ringing on the Mount). IV. The solemn service ends at last). V. ("I greet thee, my eternal home). IX. 'T'is eventide. A shadow stretched). X. (Another night, another morn). XI. (The hermit paced his narrow cell). XII. Then evening came. The shadow lay. Moses: XII ("Enveloped here in solitude). XIII. (When lo, there came a smothered laugh). XIV. (The darkness fell. In heaven's vault). XV. (The sun was rising o'er the plain). XVI. (But Moses struggled, wrestled, fought). XVII. (The words at first seemed to exhale). XVIII. (Once more the smothered laugh was heard). XIX. (The thunders pealed. The shock was felt). XX. (A fearlessness stalks o'er the hills). From Semper tiro: Semper tiro (Man's life is brief, but what art infinite). The conquistadores (Across the stormy ocean). The righteous man (Blest is the man who goes where evil reigns). Foxes (The strength of Rus marched out to war). By Babylon's river (By Babylonia's river I sat down as though dazed). The leaves of Kaaf (In dream I strayed into a valley fair). The poet's task (O poet, know: that on the path of life). Be human (Be human, brother. Let thy humanism). Didst thou but know (Didst thou but know how words with power may glow!).

Manning's note about Percival Cundy provides bio-bibliographical data about the University of Manitoba educated Presbyterian minister, whose educational work brought him into contact with Ukrainian settlers in Canada. He learned Ukrainian and began to translate works of Ukrainian literature. "He felt a natural and spiritual kinship with Franko", says Manning. Cundy, born in Manchester, England in 1881, was brought as a boy to Canada. In 1937 he moved to the United States and died there in 1947. Manning's preface characterizes Franko as "the spokesman for his people" who "used his pen as a weapon" "as poet, novelist, dramatist, literary critic, scholar, political pamphleteer..." as a poet, says Manning, "... Franko undoubtedly reaches the heights in his philosophical poems, in Cain, in Ivan Vyshensky, and in Moses. These need not fear comparison with the great poems of other languages and literatures and belong truly to the literature of the world." Percival Cundy's detailed and extensive biographical study of Ivan Franko focuses on what Cundy considers the three outstanding characteristics of Franko, the man: "his indefatigable industry, his social consciousness and sense of mission, and the undaunted courage he displayed all through his life." Cundy's translations of Franko's poetry are accompanied by brief introductory commentaries and interpretations. For identifications of individual poems see Index.

B029. Franko, Ivan. The Master's Jests. Tr. by Roman Tatchyn. New York: Shevchenko Scientific Society, 1979. 133 p. (Shevchenko Scientific Society. Ukrainian studies, v.37. English section, v.14).

Contents: Translator's preface / Roman Orest Tatchyn [p.7]. Introduction / Leonid Rudnytzky [pp.9-13]. Dedication (Through gloomy days of dread and squalor). Canto I. (Aye, children, - jest, be God your pastor!) Canto II. (A curious era - times were nearing). Canto III. ('Tis from that fearful, feudal era). Canto IV. (Migutski was a wealthy Master). Canto V. (By Christ, was there an exclamation!) Canto VI. (Our priest was pacifistic, old). Canto VII. (And from that day there sprang to fore). Canto VIII. (But then, for no apparent reason). Canto IX. (Milord and kin for Lviv departed). Canto X. (The end of '47 broke). Canto XI. (The starlit sky was barely graying). Canto XII. (Hey, howling, raving, struck the weather!) Canto XIII. (With groans and roars the forest wheezed). Canto XIV. (Like nightmares born of heavy dreaming). Canto XV. (At last that cursed winter ended). Canto XVI. (Milady and Milord were lazing). Canto XVII. (The Master kept a kennel tended). Canto XVIII. (Our Easter! God above - no doubting). Canto XIX. (The Easterdays sped on. And very). Canto XX. (Around his prison-quarters grimy).

Translation of the complete text of the long poem Pans'ki zharty. The translator claims in his preface that he "decided to reproduce the original's rhyme and rhythm schemes". He also supplied explanatory footnotes. Rudnytzky in his introduction characterizes Franko's poem as "a novella in poetic form" and discusses the historic and literary sources of Pans'ki zharty. In his opinion, the "strength and the beauty of the work lies in Franko's realistic depiction of the milieu and his warm and vibrant portrayal of the people in it" and in "the well developed speech pattern of each individual character, which reveals to us the very soul of the person involved.

B030. Franko, Ivan. Moses and Other Poems. From Ukrainian translated by Vera Rich (Moses) and Percival Cundy (other poems). New York: Shevchenko Scientific Society, 1973. 163 p. port. illus. (Shevchenko Scientific Society. Ukrainian literature, v.13).

Editors: Vasyl Lew, Matviy Stachiw. The book is illustrated with a b/w portrait of Franko, as well as with illustrations (8 full page), initials and vignettes by Myroslav Gregory. There is a photograph of Franko's tombstone in Lviv on p.15.

Contents: Acknowledgements. Rules on the transliteration of the non-English personal and topographical names (adopted by Shevchenko Scientific Society). Preface / Clarence A. Manning [pp.11-16]. Ivan Franko, his life and activity. Works of Ivan Franko / Vasyl Lev [pp.17-19]. Moses / Tr. by Vera Rich. Selected poetry / Tr. by Percival Cundy: Hymn (The eternal spirit of revolt). Folk song (Behold the spring which gushes from that grave). Kotlyarevsky (A mighty eagle on a snowy height). The hired hand (He sings a mournful song, his hands upon the plough). The pioneers (I saw a vision strange. Stretched out before me lay). Forget not (Forget not, n'er forget). The sonnet (In sonnets once did Dante and Petrarch). Visions (In prison dreadful visions visit me). The dove (A hermit was sitting by his lonely cell). A parable about life (In India 'twas. Across a lonely plain). A legend of Pilate (So Pilate yielded Christ to their demands). The death of Cain [The second part of the poem] (At last one day, at eventide it was). From Semper tiro (Man's life is brief, but what art infinite). The conquistadores (Across the stormy ocean). Festal centennial: The kozak-immortal (Aeneas was a lusty chap). The righteous man (Blessed is the man who goes where evil reigns). Be human (Be human, brother. Let thy humanism). About the translators: Vera Rich. Percival Cundy. Clarence A. Manning.

Manning claims in his preface that Franko reached the heights of his achievement in his philosophical poems "Kain", "Ivan Vyshens'kyi" and "Moisei". "These need not fear comparison with the great poems of other languages and literatures and belong truly to the literature of the world. In each of them there is a well told story with vivid imagery but there is more to them than that. Far more, for the kernel of the poem is not the mere external course of events which Franko describes but they are in a sense personal meditations on that strange conflict that goes on in the mind of a democratic leader, the need for communicating his ideas to the people around him and his equally compelling urge to follow his own course to the end, regardless of their petty interference." Vasyl Lev provides a biography of Franko and a listing of his books and other important works. Vera Rich's translation of the poem "Moisei" (Moses) includes all 20 cantos of the poem and a parallel text in Ukrainian for the Prologue [Proloh (Narode mii, zamuchenyi, rozbytyi)]. Percival Cundy's translations include the translator's commentaries on individual poems which are, apparently, together with the translations, reprinted from Ivan Franko, the Poet of Western Ukraine [cf. ULE: Books and Pamphlets, 1890-1965, B20]. Cundy's translations are of the following poems: Hymn (Vichnyi revoliutsioner). Narodnia pisnia (Hlian' na krynytsiu tykhu, shcho iz stin mohyly). Kotliarevs'kyi (Orel mohuchyi na vershku snizhnomu). Naimyt (V ustakh tuzhlyvyi spiv, v rukakh chepihy pluha). Kameniari (Ia bachyv dyvnyi son. Nemov peredo mnoiu). Ne zabud', ne zabud' (Vesnianky, 7). Kolys' v sonetakh Dante i Petrarka (Vol'ni sonety, 18). Kryvavi sny (V tiurmi meni strashlyvi sniat'sia sny) (Tiuremni sonety, 39). Sydiv pustynnyk bilia svoho skytu (Tiuremni sonety, 32). Prytcha pro zhyttia (Bulo tse v Indii). Lehenda pro Pylata (Pylat Khrysta viddav katam na muky) (Tiuremni sonety, 36,37,38). Smert' Kaina (Ubyvshy brata, Kain mnoho lit). Semper tiro (Zhyttia korotke, ta bezmezhna shtuka). Konkistadory (Po burkhlyvim okeani). Velyki rokovyny (Enei buv parubok motornyi). Blazhennyi muzh, shcho ide na sud nepravykh (Na stari temy, 2). Humannyi bud', i khai tvoia humannist' (Iz knyhy Kaaf, 3).

B031. Franko, Ivan. Short Stories. [Translated from the Ukrainian]. Kiev: Dnipro, 1977. 149 p. port.

Contents: [Introduction] / Ivan Bass [pp.5-9]. The pencil / Tr. by John Weir. The hewer / Tr. by Cecilia Dalway. The plague / Tr. by John Weir. The story of a sheepskin coat / Tr. by Cecilia Dalway. The serf's bread / Tr. by John Weir. The constitution for pigs / Tr. by John Weir. Pure race / Tr. by Oles Kovalenko. The shepherd / Tr. by Cecilia Dalway. In the blacksmith shop / Tr. by Cecilia Dalway. The thistles / Tr.by Oles Kovalenko.

In his untitled introduction Ivan Bass provides a biography of Franko and a general survey of his works. "Most of the distinguishing characteristics of Ivan Franko's poetry and prose," says Bass "can be traced back to his social and political views". Bass stresses the theme of "the struggle of all working people against capitalist exploitation" in Franko's work. For the ten short stories included in the present collection, says Bass, "burning social themes may well serve as the common denominator..."

The book contains English translations of the following short stories: Olivets'(Olovets') Rubach. Chuma. Istoriia kozhukha. Panshchyznianyi khlib. Svyns'ka konstytutsiia. Chysta rasa. Vivchar. U kuzni. Budiaky.

"Cover pictures reproduced from engravings by Olena Kulchitska."

B032. Franko, Ivan. Stories. Comp. and introduced by Yevhen Kirilyuk. [Ed. by Anatole Bilenko. Kyiv:] Mistetstvo, 1972. 163 p. port.

Contents: The great "Paver of the Way" / Yevhen Kirilyuk [pp.7-18]. Tr. by Anatole Bilenko. The pencil / Tr. by John Weir. Forests and pastures / Tr. by John Weir. The hewer / Tr. by Cecilia Dalway. The plague / Tr. by John Weir. A tale about prosperity / Tr. by John Weir. The story of a sheepskin coat / Tr. by Cecilia Dalway. The serf's bread / Tr. by John Weir. The constitution for pigs / Tr. by John Weir. Budget of the beasts / Tr. by Cecilia Dalway. The shepherd / Tr. by Cecilia Dalway. In the blacksmith shop / Tr. by Cecilia Dalway.

"The paver of the way" in Ievhen Kyryliuk's introductory essay refers to the image of a road- builder in one of Franko's early poems "Kameniari". The introduction provides a biography of Franko and brief descriptions of his works. Says Kyryliuk about Franko the poet: "He was the first of the Ukrainian poets to introduce into poetry the image of the revolutionary proletarian who in the struggle for freedom champions the noble ideas of humanity". Franko's prose works, according to Kyryliuk, "are a significant landmark in the history of Ukrainian letters" and his portrayal "of the workers' intolerable conditions under capitalism, the evolution of their social consciousness, and their attempts at a concerted class stuggle" are "more profound and convincing" than those of some other writers in world literature, such as Gaskell, Dickens, Spielhagen, Prus and even Zola. A b/w portrait of Franko with a caption from his own writings appears on p.[5].

The collection includes translations of the following Franko stories: Olovets'. Lisy i pasovys'ka. Rubach. Chuma. Kazka pro dobrobut. Istoriia kozhukha. Panshchyznianyi khlib. Svyns'ka konstytutsiia. Zviriachyi biudzhet. Vivchar. U kuzni.

B033. Halyts'ko-volyns'kyi litopys. The Galician-Volynian Chronicle. An annotated translation by George A. Perfecky. With an editor's preface. München: Wilhelm Fink [©1973]. 159 p. map (The Hypatian Codex. Part Two) (Harvard series in Ukrainian studies, 16, II)

Contents: Editor's preface / Omeljan Pritsak. Abbreviations and symbols. Preface / George A. Perfecky. Introduction. The Galician-Volynian Chronicle, Hypatian text: The Galician section. The Volynian section. Prince Volodimer's testaments. The beginning of the reign of Great Prince Mstislav in Volodimer. Commentary to translation. Notes to translation. Bibliography. Glossary. Southwestern Ru in the thirteenth century [map]. Index of personal and geographic names in the Galician-Volynian Chronicle. Genealogy of the Rurikid princes [a folded table].

An English translation of Halyts'ko-volyns'kyi litopys, one of two component parts of Ipats'kyi litopys, known in English as the Hypatian chronicle. (The second component part of the Hypatian chronicle is Kyivs'kyi litopys).

Omeljan Pritsak in his preface characterizes the Hypatian as the most significant of all the chronicles of ancient Rus': he speaks of its value as a historical source and of its artistic achievements, which make it a prominent example of the literature of the 12th and 13th centuries. Says Pritsak: "Whereas, the Kievan Chronicle, according to D. Čyževs'kyj, represents the apex of the Kievan 'monumental' style, the Galician- Volynian Chronicle stands out as one of the best examples of the 'ornamental' style which originated in Galicia in the second half of the 12th century and included the well-known Igor's Tale..."

B034. Hey, Hey, My Dapple Greys. Ukrainian nursery rhymes. Tr. from Ukrainian by Lilia Titar. Drawings by Maria Primachenko. Kiev: Veselka, 1971. unpaged [i.e. 16 p.]. col. illus.

Ten short nursery rhymes in rhymed translations in a richly illustrated book which includes six full page color plates.

B035. Holovko, Andrii. The Red Kerchief. Short stories. / Andriy Holovko. Kiev: Dnipro, 1979. 70 p. illus.

Contents: Pylypko / Tr. Thomas Evans. The red kerchief / Tr. Thomas Evans. Friendship / Tr. Anatole Bilenko.

Translations of the short stories : Pylypko. Chervona khustyna. Druzhba.

Illustrated with eight full page b/w drawings by V.A. Ievdokymenko [acknowledged in colophon only]. The front and back flap of the book's cover have a bio-bibliographical note on Andrii Holovko with his b/w portrait.

B036. Holovko, Andrii. >The Weeds. A novel. / Andriy Holovko. Tr. from the Ukrainian by Anatole Bilenko. [Kyiv]: Dnipro, 1976. 206 p. illus.

Translation of the novel Bur'ian. Illustrated by I.M. Selivanov.

An unsigned and untitled bio-bibliographical note about Holovko appears on pp.5-6. In it The Weeds is characterized as "the first large realistic novel about the class struggle in the countryside after the October Socialist Revolution of 1917", as a novel which deals with "the assertion of the young Soviet power in the countryside, the struggle against the rich peasants who lived off the sweat of their poorer fellow villagers, the education of group awareness in the new village, and the emergence of new human relations under the Soviet social system."

B 037. Honchar, Oles'. The Cyclone. / Oles Gonchar. Moscow: Progress Publishers [1972]. 321 p. (Soviet novels series).

Translation of the novel Tsyklon. No translator is named, indeed, there is no indication that this is a translation from Ukrainian. In "The author's avowal" on pp.5-17 Honchar describes the influences in his youth which made him a writer and says that in the Cyclone he "wanted to convey the complexity and drama of the epoch and the feelings which prompted the people to seek unity in the face of evil." Three other Progress books are advertized on unnumbered pages 325-327.

B038. Hutsalo, Ievhen. A Prevision of Happiness and Other Stories. / Yevgen Gutsalo. Moscow: Progress Publishers, 1974. 205 p. illus. (Soviet short stories series).

Contents: Foreword / Yevgen Gutsalo [pp.5-9]. A vision of autumn: August, a flaming burst of love. Falling stars. The orchard flames and dies. Stay, swift moment! Autumn frosts. A prevision of happiness. The bitter light of the moon. The hedgehog. A banquet of colour. Galatyn. One night. The cow with one horn. On vacation. A nocturnal cock. A memory of a blue spring. Life so terrible and so sweet. By the lantern. Bathed with lovage root. The old teacher. The wood carving. Gloaming, gloaming. A campfire in the night.

Translations of the following short stories: Povist' pro osin': Serpen', spalakh liubovi. Padaiut' zirky. Hasne sadok, spalakhuie. Zupynysia, myt'. Osinni prymorozky. Peredchuttia. Hirke svitlo misiatsia. Izhak. Barvystyi benket. Halatyn. Unochi. Opovidannia pro odnorohu. Na kanikulakh. Nichnyi piven'. Spomyn pro syniu vesnu. Take strashne, take solodke zhyttia. Bilia likhtaria. Skupana u liubystku. Riz'ba. Vechir, vechir Bahattia sered nochi.

Collected by Y. Sayenko. Translated by Eve Manning. Designed by Georgy Clodt. In his foreword the author speaks about the motifs and heroes of his short stories. A bio-bibliographical note about the author with his b/w portrait and authograph appears on the back of the bookcover only. The two-page sketch "Peredchuttia" (A prevision of happiness) included in this collection is not to be confused with Hutsalo's novel of the same title.

B039. Invincible Spirit: art and poetry of Ukrainian women political prisoners in the U.S.S.R. Album design by Taras B. Horalewskyj. Color photography by Taras B. Horalewskyj. Poetry and text translated by Bohdan Yasen. Ukrainian text by Bohdan Arey. Baltimore: Smoloskyp [©1977]. 136 p. illus., part col. ports.

A large format (23cm x 30cm) bilingual (Ukrainian and English) picture book illustrated with color reproductions of Ukrainian embroidery and with black and white photographs, including portraits of Ukrainian poets Iryna Senyk (p.88), Iryna Stasiv-Kalynets (p.89), Stefaniia Shabatura (p.86) and a group photograph of Ihor Kalynets, Iryna Stasiv-Kalynets, Viacheslav Chornovil and Stefaniia Shabatura on p.85. Reproductions of Shabatura's art tapestry inspired by Lesia Ukrainka and Ivan Kotliarevskyi appear on pp.96-97.

Contents of English language material: Preface [pp.7-8]. Symbolism in Ukrainian embroidery art / Lidia Burachynska [pp.11-12]. Art and poetry. Biographies. Original letter fragments. Annotations on embroidery art.

Art and poetry section includes poetry by Iryna Senyk, Iryna Stasiv-Kalynets' and Stefaniia Shabatura in parallel English and Ukrainian texts, as follows:

Iryna Senyk: To walk the edge of a precipice. A house without flowers. They swirled and swirled all night. I plunge into your Septemberness. A flower of suffering. The sun in the sky. Faces square. Spring shakes. Love's sun. Like the swallow. Near our courtyard. In the belfry. Each evening. The cherries' heavy inflorescence. Be pain to me. Evening Kyyiv growing calm. How rare it is that the victoria-regia blooms in the gardens. Fire and brimstone. Down in the valley. Those such as I are never published, yet other poems I know not how to write. Scattered 'round Bratsk. Midnight flashes. Your eyes. Outside, it's spring. It's May. Iryna Stasiv-Kalynets': At the bottom of my life - a curative well. The ballad of the guelder-rose twig (Once a boy brought home a guelder-rose twig). And they will crucify and curse you. Upon the stage. Sultry summer. The dewdrops fall in starry clusters. Stefaniya Shabatura: To come and die on one's own land (There will yet be enough of lifetime left).

Biographical notes on the poets included and translated fragments from their letters written in Soviet prisons are given on the following pages: Iryna Senyk (pp.50, 54, 55, 74, 88, 103, 119); Iryna Stasiv-Kalynets (pp.89, 105); Stefaniia Shabatura (pp.86, 95, 115).

For identifications of individual poems see Index.

B040. Iryna Stasiv-Kalynets and Ihor Kalynets, Ukrainian Writers. Baltimore: Smoloskyp, 1973. 8 p. illus. (Political prisoners in the USSR).

An eight-page leaflet with biographies of both poets, data on their dissident activities and imprisonment and excerpts from their statements, illustrated with a photo of both Ihor and his wife Iryna. Two poems by Ihor Kalynets' translated by S.G. appear on the back cover, namely "Autumn (There is such sadness in the white desert of the sheets)" and "Tapestries (On the harps of prehistoric looms)". These represent translations of "Osin' (Taka samotnist' u bilii pusteli posteli" and "Kylymy (Na arfakh peredvichnykh krosen)". The text includes also quotes from critical reviews of Ihor's poetry.

B041. Ivanko And The Dragon. An old Ukrainian folk tale from the original collection of Ivan Rudchenko translated by Marie Halun Bloch. Illustrations by Yaroslava. New York: Atheneum, 1969. unpaged [i.e.44 p.] col. illus.

Translation of Ivasyk Telesyk. Thirteen of the illustrations are full page.

B042. Kachurovs'kyi, Ihor. Because Deserters Are Immortal. / Igor Kaczurowsky. Tr. from the Ukrainian by Yuri Tkach. Doncaster [Australia]: Bayda Books, 1979. 141 p.

Translation of the novel Shliakh nevidomoho originally published in 1956 in Germany. There is a translator's preface [p.5] which gives some bio-bibliographical data about the author. A publisher's note on the back cover characterizes the book as "...the story of a young man caught in the whirlwind of World War II. Not wishing to fight for any one side, he tries only to survive the nightmare and return home.. The hero's witty philosophy and perceptive observations of human character and behaviour find relevance in today's world of increasing tension and uncertainty." Pages 137-138 contain translator's notes.

B043. Kirilo Kozhumyaka: Ukrainian folk tale. Tr. from the Ukrainian by John Weir. Illustrated by Olexandra Pavlovska. Kiev: Mistetstvo, 1969. 9 p. col. illus. (7 full page).

Translation of Kyrylo Kozhumiaka.

B044. Kolasky, John. Education in Soviet Ukraine: A Study in Discrimination and Russification. Toronto: Peter Martin Associates [©1968]. xv, 238 p.

The book is described on the back cover as "a close and damning analysis of Russian cultural and ethnic imperialism within the Soviet Union." The preface by the author provides the background and explains the reasons of why this book was written. Kolasky, a Canadian Ukrainian Communist, went to the Ukrainian SSR in 1963 to study at the Kyiv university, became disillusioned by the Russified reality and started collecting material on the discrimination against Ukrainians and the Ukrainian language. The book discusses the nationality policies of the USSR, the law on education under Khrushchev, and citing a variety of sources and personal experiences provides data on elementary, secondary and higher education. The appendices contain a number of statistical tables.

B045. Kolasky, John. Two Years in Soviet Ukraine. A Canadian's personal account of Russian oppression and the growing opposition. [Toronto]: Peter Martin [©1970]. xii, 264 p. illus.

Memoirs of a former Canadian Communist who lived in Ukraine from September 1963 to August 1965 and who subsequently published Education in Soviet Ukraine: A Study in Discrimination and Russification [cf.B044]. Russification, says Kolasky in the preface to his memoirs, is not limited to the sphere of education, "but is being imposed with equal vigour and intensity in all areas of the political, economic and cultural life of Ukraine..." and is accompanied by "discrimination, duplicity, hypocrisy, scandals and corruption." The parts of the book which may be of special interest to literary scholars and contain anecdotal material about Soviet Ukrainian writers and critics (especially about Ivan Dziuba and Ivan Svitlychnyi), about censorship, discrimination and dissent are: Ch. 7: Those who betray [pp.63-77]; Ch. 8: The Russians and Shevchenko [pp.80-89]; Ch.9: The stained glass panel [pp.90-94]; Ch.13: Censorship [pp.147-160]; Ch. 17: The thorny road to immortality [pp.202-210]; and Ch.18: A critic exposes the philistines [pp.211-216].

B046. Kolesnyk, Petro. Ivan Franko. A biographical sketch. Kiev: Dnipro, 1977. 142 p. illus., port.

Translated from the Ukrainian by Gladys Evans. Frontispiece: portrait of Ivan Franko by Olena Kulchitska. At p.97: group photo of Franko with Mykhailo Kotsiubyns'kyi and Volodymyr Hnatiuk.

Contents: Life of a vanguard fighter. Franko's prose. Franko the poet. Ivan Franko and world literature.

Kolesnyk presents Franko's life against the background of social and political conditions in Galicia and claims that "The historical significance of Franko's efforts lies especially in the fact that he was a spokesman for the liberation aims of the working masses..." According to Kolesnyk, "Franko affirmed that to fight for the national liberation of his people alone would mean to betray the trust of the workers; for that would mean replacing 'foreign' masters with those of his 'own' race who would be even more cruel and more greedy. He called on the workers of all nationalities to join forces in the freedom struggle..." Kolesnyk surveys Franko's short stories and novels, provides brief summaries of their plots and brief critical comments, always stressing the works' social and political aspects; Boryslav smiietsia (Borislav is Laughing) is called "one of the first prose stories in the literary world to deal with the working class struggle". Dlia domashn'oho ohnyshcha (For the Home Hearth) and Osnovy suspil'nosti (Fundamentals of Society) are characterized as protests "against an exploiting society" pointing to "the only way out" - to "social revolution". Kolesnyk considers Franko "a talented playwright" and singles out Ukradene shchastia (Stolen Happiness) as Franko's best play. Kolesnyk analyzes one by one all of the eight books of poetry published during Franko's lifetime. In his view, the second (1893) edition of Z vershyn i nyzyn (From the Heights and the Depths) "should be considered his best": "It breathes of the spirit of revolutions... Its lyrical hero is a revolutionary..., an internationalist and friend of the people, but a deadly enemy of feudal or capitalist enslavement." Ziviale lystia (Wilted Leaves), says Kolesnyk, shows the "strength of Franko's talent as a lyric poet... his ability to remain personally aloof, and yet seeing the facts of life through the eyes of an artist..." Mii izmarahd (My Emerald) reveals a balanced approach to everything, a mood of quiet peace and sober reasoning..." The last chapter discusses Franko's work as a literary scholar and translator. Fragments of poetry are quoted throughout the book. The longer pieces are: Perhaps Genoa will for years recall [6 lines, p.11]. I dreamt of a new brotherhood of mankind [9 lines, p.15]. Blessed be the man who, caught in decadent billows [8 lines, p.42-43]. Call for revolt rings far and near [10 lines, p.101]. From their assemblies they will drive you out [11 lines, pp.105- 106]. We all believed that with our hands and by a common effort [5 lines, pp.108-109]. A moment more, and Joshua's call [8 lines, p.128].

B047. Kotsiubyns'kyi, Mykhailo. The Birthday Present and Other Stories. / Mikhailo Kotsyubinsky. Tr. from the Ukrainian by Abraham Mistetsky. Ed. by Richard Dixon. Designed by Valeriy Rudenko. Kiev: Dnipro, 1973. 225 p. illus.

Contents: Mikhailo Kotsyubinsky (1864-1913) / Nina Kalenichenko. On the rocks. The duel. Apple blossoms. Laughter. He is coming. Intermezzo. The dream. The birthday present. The horses are not to blame.

Translations of the following short stories: Na kameni. Poiedynok. Tsvit iabluni. Smikh. Vin ide. Intermezzo. Son. Podarunok na imenyny. Konni ne vynni.

Kotsiubyns'kyi's works, according to Kalenichenko, "happily combine deep lyricism, vivid imagery and keen psychological insight. He was at his best in the socio-psychological short story with its tense, energetic beginning and abrupt end. Skillful representation of human motives and feelings brings his stories in line with best modern writing." Kotsiubyns'kyi, in Kalenichenko's view, was "an innovator not only in the sense that he introduced new subjects and ideas into Ukrainian literature; he also created new forms of artistic expression."

B048. Kotsiubyn's'kyi, Mykhailo. Fata Morgana. A story of the peasant life and sentiments by Mikhailo Kotsyubinsky. Tr. from the Ukrainian by Arthur Bernhard. Kiev: Dnipro, 1976. 150 p. illus.

Translation of the novel Fata morhana, illustrated with 11 full-page linocuts by Georgy Yakutovich. There is a six-page foreword by P. Kolesnyk [pp.5-10]. The novel is "marked by deep psychological treatment of the characters and a new approach to the theme, plot and composition, since the author explored not merely the ethnographic side of the peasants' life, but their moods and aspirations," says Kolesnyk. "As an artist, Kotsyubinsky rejected empiric adherence to facts. In his interpretation the artistic image was not a mere reproduction of reality, but a new reality, created by critical approach to life."

B049. Kulish, Mykola. Sonata Pathetique. Tr. from Ukrainian by George S.N. and Moira Luckyj. With introd. by Ralph Lindheim. Littleton, CO: Ukrainian Academic Press, 1975. 110 p. (Ukrainian classics in translation, no.3).

Contents: Introduction / Ralph Lindheim [pp.7-36]. Translators' note / George S.N. Luckyj [pp.37-38]. Sonata Pathetique.

A translation of the seven-act play Patetychna sonata written in 1930. Lindheim in his introduction provides a detailed analysis of the play which he considers "powerful, complex and unconventional", towering above the other Soviet historical epics of the time "because of the brilliance of its technique and the integrity with which it explores the central issues of revolution and nationalism". According to Lindheim: "... Sonata Pathetique is not a reactionary tract repudiating revolution... Rather, the play discloses the conservative impulses and forces in its characters. These impulses keep them from responding openly to the opportunity revolution provides to reject the past, to move beyond previous failures and accomplishments, and to liberate themselves from all the old aesthetic, social, political, religious, and philosophical assumptions -... so that new and different conceptions of man and society, uninvestigated possibilities of life, can be voiced and explored. From this perspective the revolution proves degrading and destructive rather than elevating and creative, because revolutionary idealism either is swamped by a sentimentalism that refuses to jettison the ballast of the past or is subverted by a fanaticism that, doubting man's heroic stature and creativity, cannot acknowledge that 'man's reach should exceed his grasp'. The revolutionary dream to create a new man and a new environment for him is, therefore, fated to remain unfulfilled, since both the ideals and the actions of the dreamers fail to match the radical thrust and scope of their aspirations."

B050. Kulish, Panteleimon. The Black Council. Abridged and translated from Ukrainian by George S.N. and Moira Luckyj. With introd. by Romana Bahrij Pikulyk. Littleton, Co: Ukrainian Academic Press, 1973. xxii, 125 p. (Ukrainian classics in translation, no.2).

Contents: Introduction / Romana Bahrij Pikulyk [pp.vii-xxii]. The Black Council. Translators' notes [pp.123-125].

An abridged translation of the novel Chorna rada, written originally in 1845-46. According to the translators' note, the text was condensed from the original 50,000 words to 40,000. The introduction provides a detailed biography of Panteleimon Kulish and an analysis of Chorna rada, which was written, according to Romana Bahrij Pikulyk, under the influence of Ukrainian historical chronicles, and in the best tradition of the novels of Sir Walter Scott. P. Kulish, says Bahrij Pikulyk, considered his novel a Ukrainian answer to Gogol's Taras Bulba; both Taras Bulba and Chorna rada are novels about the Cossack wars, but Chorna rada is more firmly grounded in history and depicts the conflict not only as one between two nationalities and religions, but also as one of opposing classes. "... the significance of The Black Council cannot be overestimated, says Bahrij Pikulyk. "It is a great cultural, linguistic, stylistic, historical, but most of all literary, achievement."

B051. Kysel'ov, Iosyp. Dramatic Art in the Soviet Ukraine. An essay. / Yosip Kiselyov. [Tr. from the Ukrainian by Lari Prokop and Oleziy Solohubenko]. Kiev: Dnipro, 1979. 228 p. illus., ports.

Contents: 1. On fertile soil. 2. In search of a new hero. 3. Thought and poetry. 4. Keeping pace with the times. 5. The Soviet character. 6. Philosophical drama. 7. The bard of truth and kindness. 8. Man's lofty purpose. 9. On a wave of creative unrest. 10. Different creative roads.

Soviet Ukrainian dramatic art, according to Kisel'ov, "brings forth a new Soviet character and new human qualities which have been formed and developed in the process of creating a new revolutionary world under the influence of communist ideology and morality, new notions and new mentality." Soviet playwrights, says Kisel'ov, "present a new hero who was unimaginable and unheard of in the dramatic works of the past." Kisel'ov presents a background of Ukraine's classical legacy which laid the foundation for the development of Soviet Ukrainian drama and discusses in the first chapter the work of such playwrights as Marko Kropyvnyts'kyi [Kropivnitsky in text], Mykhailo Staryts'kyi [Staritsky], Ivan Karpenko-Karyi [Kariy], Ivan Kotliarevs'kyi [Kotlyarevsky], Hryhorii Kvitka-Osnovianenko [Hrihoriy Kvitka-Osnovyanenko], Taras Shevchenko, Ivan Franko and Lesia Ukrainka. The rest of the book deals with post- revolutionary Soviet Ukrainian playwrights. The plays of the 1920's by Iakiv Mamontov, Myroslav Irchan, Vasyl' Mynko [Minko] and Mykola Kulish are dealt with in Chapter 2. While seventeen pages are devoted to Kulish and he is characterized as "a genuine talent who, with tremendous artistic mastery showed the complex and dramatic events which took place in the winter of 1921-1922..." only four of Kulish's plays are discussed: "97" (singled out as his "perhaps the most successful play"), "Komuna v stepakh" (A Commune in the Steppes, which, in the author's opinion "did not match, as to its artistic level, the tragic heights of "97"), "Maklena Grasa" ("reveals the vices of the bourgeois system") and "Patetychna sonata" (Sonata Pathetique, "original in form and content" "although possessing certain miscalculations on the part of the author"). Kulish's other plays, "Myna Mazailo", "Narodnii Malakhii" are not even mentioned by title, let alone analyzed. Kisel'ov devotes whole separate chapters to Ivan Kocherha, Ivan Mykytenko [Mikitenko], Oleksandr Korniichuk [Olexander Korniychuk], Oleksandr Levada, Mykhailo Stel'makh, Mykola Zarudnyi [Zarudny] and Oleksii Kolomiiets'[Olexiy Kolomiyets]. Kocherha's plays "Iaroslav Mudryi",(Yaroslav the Wise], "Svichchyne vesillia" [Svichka's Wedding], "Maistry chasu" [Masters of Time], Mykytenko's "Dyktatura" [Dictatorship - "artistically convincing"), "Kadry" [Cadres], "Sprava chesti" [A Matter of Honor], "Dni iunosti" [The Days of Youth], "Divchata nashoi krainy" [The Girls of Our Country - "optimistic social comedy"] are analyzed in considerable detail. Korniichuk is characterized as a "genuine innovator, investigator of new life phenomena, and of new types of human characters" whose works have "vivacity of plot, colorfulness of characters, richness of lexicon, genuine popular humor and optimism of intonations." Korniichuk's plays "Platon Krechet", "Kalynovyi hai" [Guelder-rose Grove], "Kryla" [Wings], "V stepakh Ukrainy" [In the Steppes of the Ukraine], "Storinka shchodennyka" [A Page in the Diary], "Pamiat' sertsia" [The Memory of the Heart] are singled out for the author's special attention. Levada's "Faust i smert'" [Faust and Death], "Zdrastui, Prypiat'"[Hello, Pripyat!], "Storm over Hawaii", "Kamo", "Mariia" [Maria], "Persten' z diamantom" [A diamond Ring], says Kisel'ov, deal with the moral, ethical and psychological aspects of space exploration, ecology, the use of nuclear energy and show the playwright's "constant attempts to add ideological connotation to dramatic conflict". Stel'makh is described as "a truthful and, consequently, a severe artist" and the analysis includes his plays "Duma pro liubov" [A Ballad of Love], "Kum koroliu" [The King's Godfather], "Na Ivana Kupala" [On John the Baptist Day] and "Pravda i kryvda" [Truth and Falsehood]. Of Mykola Zarudnyi's plays the focus of discussion is on "Vesna" [Spring], "Veselka" [A Rainbow], "Take dovhe, dovhe lito" [Such a Long, Long Summer] and "Pora zhovtoho lystia" [The Season of the Yellow Leaf]. "Colorfulness and originality" in Kisel'ov's view, are characteristic features of O. Kolomiets's plays, especially of "Faraony" [The Pharaohs], "Dvadtsiata hodyna" [The Twentieth Hour], "Please Give Me the Floor Today", "Planeta spodivan'" [The Planet Speranta] and "Odisseia v sim dniv" [The Seven Day Odyssey].

Among the book's many illustrations - which include group portraits and scenes from various stage presentations - there are also full page portraits of the following writers and actors: I. Karpenko-Karyi, Maria Zan'kovets'ka, Natalia Uzhviy, Marko Krushel'nyts'kyi [Krushelnitsky], I. Kocherha, Ivan Marianenko [Maryanenko], I. Mykytenko, Iurii Shums'kyi [Yuri Shumsky], O. Korniichuk, Amvrosii Buchma, O. Levada, M. Stel'makh, M. Zarudnyi, O. Kolomiiets.'

B052. Little Ivan and Other Ukrainian folk tales. Toronto: Ukrainian Canadian, 1979. 50 p. illus.

Contents: Little Ivan (Well now, since you ask me) / by Pavlo Tychyna. Tr. by Mary Skrypnyk. The Cossack Mamariha: a Ukrainian folk tale / Tr. by Mary Skrypnyk. The painted fox: a fable / by Ivan Franko. Tr. by Wilfred Szczesny. How the Carpathian mountains were born: a Ukrainian legend as told to Vasil Pipash-Kosivsky / Tr. by Mary Skrypnyk. The miracle of the Stone Mountain: a folk tale from Western Ukraine / Tr. by Mary Skrypnyk. The magic cup: a folk tale from Bukovina as told by V. Vinnichuk / Tr. by Natalia Kostiniuk. The lame duckling: a Ukrainian folk tale / Tr. by John Weir. Foxy-Loxy and Palsy-Wolfie: a Ukrainian folk tale / Tr. by Anatole Bilenko. The Iron Wolf: a Ukrainian folk tale / Adapted by Yevhenia Horeva. Tr. by Wilfred Szczesny. Kirilo Kozhumyaka / Tr. by John Weir. The miraculous well: a Hutsul folk tale / Tr. by Natalia Kostiniuk. Baba-Yaga and the Swan Geese: a Ukrainian folk tale. [No translator indicated]. Kotihoroshko. [No translator indicated].

B053. The Little Shepherd: Ukrainian folk tale. Tr. from the Ukrainian by Anatole Bilenko. Illus. by Volodimir Aptekarev. Kiev: Dnipro, 1975. 15 p. col. illus. (7 full page).

Parallel text edition. Translation of Chabanetsi>.

B054. Luckyj, George S.N. Between Gogol' and Ševčenko: polarity in the literary Ukraine: 1798-1847. München: Wilhelm Fink [Published for the Centre for Russian and East European Studies, University of Toronto], 1971. 211 p. (Harvard series in Ukrainian studies, v.8).

Luckyj characterizes his book in his introduction not as a study of Nikolai Gogol and Taras Shevchenko and their works, but as an attempt to see the Gogol-Shevchenko relationship "within the context of a special cultural dilemma", namely that of a choice between Russia and Ukraine. Gogol, a Ukrainian by birth, became a Russian writer, as if to indicate that the political absorption of Ukraine by Russia should be followed by Ukraine's cultural dissolution "in the Russian sea"; Shevchenko, on the other hand, "succeeded in establishing modern Ukrainian literature and in infusing it with a distinct intellectual content." The focus of the study is on this dilemma, which is presented against a background of Ukrainian intellectual history. "Gogol's role is reduced to the one he played in Ukrainian-Russian relations..." Shevchenko's "career is surveyed up to his arrest in 1847". "The world of ideas in which these two lived," says Luckyj, " is entered through their life stories, their friendships and their day-to-day activities." The author attempts "to achieve a new synthesis", not to discover new and hitherto unknown material. In his concluding remarks Luckyj says: "Ševčenko's followers sustained Ukrainian national ideals often at the expense of entering the mainstream of European literature. Living in the shadow of Russia, Ukrainian intellectuals were often aware of Gogol's continuing presence. Yet to them he became a symbol not so much of "the road not taken" as of the lasting potentialities of Ukrainian genius."

Contents: Introduction. Part One: I. Historians and folklorists. II. Classicists and romantics. III. The Ukraine in Russian literature. Part Two: IV. Gogol. V. Ševčenko. VI. The Brotherhood. VII. Conclusions. Selected bibliography. Reziume [Summary in Ukrainian]. Index.

The book includes a number of Shevchenko's poems or fragments of poems in translation. The longer fragments are: The waters flow down to the sea [23 lines, tr. Vera Rich, p.134]. Once there was the Hetmanate [6 lines, tr. Vera Rich, p.135]. All things must ever flow and pass away [12 lines, tr. Watson Kirkconnell, pp.142-143]. Do not rend, thoughts, do not burn [20 lines, tr. Vera Rich, p.149]. We fly...I look: the dawn is glimmering [20 lines, tr. Vera Rich, pp.150-151]. Accursed tsar, insatiate [10 lines, tr. Vera Rich, p.151]. To Hohol' (Thought follows thought, off in a swarm each flits) [28 lines, tr. Watson Kirkconnell, pp.152- 153]. That church beneath the skies [7 lines, tr. Watson Kirkconnell, p.156]. We are the enlightened! Now [14 lines, tr. Vera Rich, p.158]. When I die, then make my grave [24 lines, tr. Vera Rich, p.160].

These represent complete translations of: Teche voda v synie more. Hoholiu (Za dumoiu duma roiem vylitaie). Zapovit (Iak umru, to pokhovaite) and fragments of other poems.

B055. Luckyj, George S.N. Literary Politics in the Soviet Ukraine, 1917-1934. Freeport, N.Y.: Books for Libraries Press [1971]. 323 p. Biblio. [273-292], index [295-323].

A photomechanical reprint of the 1956 ed. published by Columbia University Press. For annotation see ULE: Books and Pamphlets, 1890-1965, B38]. Appendices A-I [included also in the first original edition] contain the following documents in translation: A. Draft decree on encouraging the development of culture of the Ukrainian people (1920) [pp.247-250]. B. Blakytnyi's Manifesto of the All-Ukrainian Literary Academy [pp.251-252]. C. Resolution of the Politbureau of the Central Committee of the CP(B)U on Ukrainian Literary Groupings, 1925 [pp.253-254]. D. Policy of the Party concerning Ukrainian literature; Resolutions of the Politbureau of the Central Committee of the CP(B)U, 1927 [pp.255-259]. E. Theses on the results of Ukrainization; passed by the Plenum of the Central Committee of the CP(B)U in June, 1927 (Extracts) [p.260-261]. F. Resolutions of VAPLITE [pp.262-263]. G. Resolution of the Central Committee of the All-Russian Communist Party, April 23, 1932 [pp.264-265]. H. A summary of the most immediate tasks in the fulfillment of the national policy in the Ukraine, 1933 (Extracts) [pp.266-267]. I. List of leading Communist officials in the Ukraine [pp.268- 269].

B056. Mandryka, Mykyta. Canada: A Poem. / M.I. Mandryka. Parallel text ed. Foreword and translation from Ukrainian by Watson Kirkconnell. Winnipeg: Ukrainian Free Academy of Sciences in Canada, with the assistance of the Ukrainian Canadian Foundation of T. Shevchenko and the Department of the Secretary of State, Government of Canada, 1977. 72 p.

Watson Kirkconnell in his brief foreword on p.5 characterizes the poem as Mandryka's "poetic salute to Canada", "a worthy tribute to its author's adopted country", and provides biographical data about the author.

Contents: Foreword / Watson Kirkconnell. 1. By routes of Magellan (Once in the past, across the mighty ocean) [= 1. Z dorih Magellana (Kolys' kriz' okean zelenyi)]. 2. A land of freedom (Here is Niagara, the world's great wonder) [=2. Zemlia svobody (Ot Niagara, svitu dyvo)]. 3. Am I in Ukraine? (Am I in Canada or in Ukraine) [=3. Niby v ridnii storoni (Chy tse Kanada? Ukraina?)]. 4. The ghost of Hiawatha (Southward from here austere Dakota lay) [= 4.Tin' Haiavaty (On tam, na Pivden', des' Dakota)]. 5. Winnipeg (Here the Red River at its portage meets you) [= 5. Vinnipeg (Rika Chervona nas vitaie)]. 6. The year that I was born (The year that I was born by Dnieper's side) [= 6. V toi rik, koly i ia vrodyvsia (V toi rik, koly i ia vrodyvsia)]. 7. The lords of fields (From lowlands around Winnipeg and out) [= 7. Vladyky pil' (Vid pil' pshenychnykh vinnipezhnykh)]. 8. Saskatchewan (O Saskatoon - cradle of erudition) [= 8. Saskatun (O, Saskatun, kolyska studii)]. 9. Alberta (Alberta is the cowboy's heaven true) [= 9. Alberta (Alberta - rai zemnyi kovboiv)]. 10. In a valley near the River (Now back to Manitoba shall we go) [= 10. V dibrovi kolo richky (Ta ia vernus' u Manitobu)]. 11. The laureates (Dear teacher, prophet of the blessed heaven) [= 11. Lavrovi vintsi (Uchyteliu, proroche Bozhyi)]. 12. To friends (O Canada, here at the earth's far ends) [= 12. Druziam (Kanado myla! Nam honenym)]. 13. Let our bells ring (Even though the Kremlin's "leaders of the leaders") [= 13. Nekhai zhe dzvoniat' nashi dzvony (Khoch tainy Bozhoi ne znaly)]. 14. At the Pacific (This is Vancouver. From Alaska hither) [14. Nad okeanom (Vankuver. Tut ot iz Aliasky)]. Slovnyk [=Glossary].

B057. Mandryka, Mykyta. History of Ukrainian Literature in Canada. / M.I. Mandryka. Winnipeg: Ukrainian Free Academy of Sciences, 1968. 247 p. ports.

Contents: Foreword / J.B. Rudnyckyj [pp.9-12]. Introduction. Historical background of the Ukrainian people. Ukrainian literature in Canada: Preface. Ch. 1. 1. Beginnings of Ukrainian letters in Canada. 2. The first more distinctive authors. Ch.2. Late pioneer era. Beginning of literature. Ch.3. 1. New horizons and new achievements (after the First World War). 2. Learned men of letters. 3. Authors of non-Ukrainian origin. 4. Extra- literary writers. 5. Writers-musicologists. Ch.4. Influx of new intellectual forces (after the Second World War). Preface. 1. Learned men of letters. 2. Poets, novelists and essayists. 3. Literary critics. 4. Authors - researchers. 5. Neighbours and guest writers. Concluding remarks. Selected bibliography. Index of authors.

A survey of Ukrainian writing in Canada from the early folkloristic poems published in 1899 through the early 1960's. The survey is provided in the form of bio-bibliographical notes on individual writers with brief critical comments, occasional quotations of poetry in translation and selected black and white portraits. The author includes in his survey not only writers of literature and literary scholars proper, but journalists, authors of non-literary memoirs, of dictionaries, of books on such topics as choreography, music, art, archeology, agriculture, handicrafts, cookery etc. Some Canadian authors who write only in English are included also (Myrosia Lazechko, Vasyl Paluk, Vera Lysenko). The following authors are discussed in notes of one-half page or longer: Sava Chernetsky (pp.37-41, port on p.49); Mykhaylo Gowda (pp.41-43); Theodor Fedyk (pp.43-45); Ivan Novosad (pp.45-46); Kateryna Novosad (pp.46-47); Maria Adamovska (pp.47- 48); Yosyp Yasenchuk (p.48); Anna Pruska (pp.48-49); Semen Kovbel (pp.50-55, port. on p.49); Dmytro Hunkevych (pp.55-56); Apolinariy Novak (pp.56-57, port. on p.62); Pavlo Krat (Crath) (pp.57-59); Mykhaylo Kumak (pp.59-60); Panteleimon Bozhyk (pp.60-61); Ivan Danylchuk (pp.64-66, port. on p.62); Onufriy Ivakh (Honore Ewach) (pp.66-69, port. on p.69); Tetiana Shevchuk (pp.6972, port. on p.69); Illia Kyriyak (pp.72-77, port. on p.79); Mykyta I. Mandryka (pp.77-85, port. on p.79); Hryhoriy Mazuryk (pp.85-87); Mykhaylo Petrivsky (pp.87-89, port on p.89); Semen Semchuk (pp.89-94, port. on p.89); Oleksander Luhowy (pp.95-97); Taras Volokhatiuk (pp.97-99); Myroslav Ichniansky (Ivan Efymovych Kmeta) (pp.99-101); Andriy Gospodyn (pp.101-102); Stepan Doroschuk (pp.102-104); Myrosia Lazechko (pp.104-106, port. p.106); Vasyl Paluk (pp.107-110, port. p.106); Vera Lysenko (pp.110-111); Myroslav Irchan (pp.111-112); Victor Lysenko-Tulevitriv (pp.112-114, port. p.112); Yakiv Kret (James Krett) (pp.114-115); Daria Yanda (Mohylianka) (pp.115-116); Constantine H. Andrusyshen (pp.116- 120, port. p.117; Paul Yuzyk (pp.121-124, port. p.121); Tymish (Thomas) Pavlychenko (pp.124- 125); Isydore Hlynka (pp. 125-129, port. p.121); Julian Stechishin (pp.129-130); Mykhaylo Stechishin (pp.130-132); Alexander Jardine Hunter (pp.132-133); Percival Cundy (pp.133); Watson Kirkconnell (pp.134-136, port. p.117); Savela Stechishin (Wavryniuk) (pp.136-137); Stephania Bubniuk (Hladka) (pp.137-138, port. p.138); Natalka Kohuska (p.139, port.p.112); Hanna Mandryka (pp.139-140, port. p.138); Kornelius Prodan (Cornelius S. Prodan) (pp.140- 141); Oleksander Koshetz (pp.141-144, port. p.144); Pavlo Macenko (pp.145-146, port. p.144); Evhen Turula (pp.146-147); Dmytro Doroshenko (pp.151--152, port. p.150); Leonid Biletsky (pp.152-154, port. p.150); Jaroslav Bohdan Rudnyckyj (pp.154-158, port. p.154); Ivan Ohiyenko (Ohienko) (pp.158-160, port. p.154); Stepan Kylymnyk (pp.161-163, port. p.163); Yar Slavutych (pp.163-168, port. p.163); Constantin Bida (pp. 168-169, p.170); Borislav Nicholas Bilash (pp.170-172, port. p.170); Fedot Khoroshiy (pp.172-173); Levko Romen (pp.174-175); Oleksandra Chernenko (pp.176-178, port. p.179); Borys Oleksandriv (pp.178-182, port. p.179); Larysa Murovych (Tymoshenko) (pp.182-185, port. p.183); Roman Rakhmanny (Oliynyk) (pp.185-188); Ivan Bodnarchuk (pp.188-191); Oleksander Hay-Holovko (pp.191-195); Volodymyr Martynets (pp.195-197); Zenoviy Knysh (pp.197-199); Irena Knysh (pp.199-200); Vasyl Ivanys (pp.200-201); Mykhaylo Sharyk (pp.201-202); Ihor Shankovsky (pp.203-205, port. p.202); Bohdan Mazepa (pp.205-207, port. p.202); Volodymyr Skorupsky (pp.207-208); Petro Volyniak (pp.208-210); Volodymyr T. Zyla (pp.210-214, port. p.210); Stepan O. Volynetz (pp.214-215, port. p.210); Volodymyr Kysilevsky (Vladimir J. Kaye) (pp.215-216); Mykhaylo Marunchak (pp.217-220, port. p.217); Yaroslav Pasternak (pp.220-221); Olha Woycenko (pp.221-223, port. p.217); Mykhaylo Borovsky (pp.224-225); Jusaphat J. G. Skwarok (pp.225- 227); Maria Pasternak (pp.227-228); Kateryna Antonovych p.228, port. p.223); Tonia Horokhovych (pp.228-229). In the chapter on "Neighbours and guest writers" (pp.229-236) Mandryka provides some bio-bibliographical data on writers who either live outside Canada or have not yet contributed to Canadian Ukrainian literature, among them Oleksander Neprytsky- Hranovsky, Sviatoslav Hordynsky, Hanna Cherin', Dokia Humenna, Oleksandra Kostiuk, Nykyfor Hryhoriyiv, Todos Osmachka, Anatol Kurdydyk and Ulas Samchuk.

Interspersed in the text of the survey are fragments of poetry in translation. The longer fragments are as follows: translations are by Mandryka, except as indicated): Sava Chernetsky: Over the Canadian prairies (31 lines, pp.38-39). O free us, merciful God (15 lines, p.40). Tell me, why you pity me (11 lines, p.41). Mykhaylo Gowda: To Canada (O free and fresh home, Canada. Can we) / Tr. by E.W. Thomson (20 lines, p.42). Theodor Fedyk: Don't believe my poem (10 lines, p.44). Easter bread (A wanderer here in Winnipeg) / Tr. Watson Kirkconnell (pp.44-45, 12 lines). Ivan Novosad: Broad are the fields like the seas (8 lines, p.46). Kateryna Novosad: A little tree in an open field (9 lines, pp.46-47). Maria Adamovska: My heart is sorrowful (8 lines, p.470. Semen Kovbel: Don't despair, my beloved people (12 lines, p.51). Over ashes of the throne of bloody tzars (7 lines, p.51). There, over seas, over oceans (13 lines, pp.52-53). Generosity (My neighbour by the chair at the meeting) (5 lines, p.53). Ivan Danylchuk: By the lake of Good Spirit (My mountains of sand) (24 lines, p.65). Onufriy Ivakh (Honore Ewach): Maiden lips (Oh my eyes) (10 lines, p.67). The cherry blossom falls (16 lines, pp.67-68) / Tr. Watson Kirkconnell. Under the bush at the road (17 lines, p.68). Mykyta Mandryka: Land beyond all human measure / Tr. Watson Kirkconnell (8 lines, p.79). Niagara, a wonder of the world / Tr. Watson Kirkconnell. (12 lines, p.83). Hryhoriy Mazuryk: The pedestrian (Among wild yellings I am voiceless) (8 lines, p.86). Once I had a beloved girl (13 lines, pp.86-87). You think, so dear to me my reader (5 lines, p.87); Semen Semchuk: Canadian rhapsody (Once the Carpathian land and the blue of its lakes were our chanting) / Tr. Watson Kirkconnell (12 lines, pp.91-92). Primordial will say a Word (7 lines, p.93). Dedicated to God for service (12 lines, p.94); Taras Volokhatiuk: O God, our Lord. Bless Canada, our home (19 lines, p.98); Myroslav Ichniansky: It is a reality? The sun is here at our festival (8 lines, p.100). Thus rustle is here to comfort me (7 lines, p.100). Don't dress in grief my heart again (6 lines, p.101). Andriy Gospodyn: You were cutting stones on the prairies (19 lines, p.102). Stepan Doroschuk: Do you hear moaning (9 lines, p.103); Victor Tulevitriv: I am not a poet, just a common (8 lines, p.113). O winter, winter (8 lines, pp.113-114); Ivan Ohiyenko: In Kenora, Ontario (How beutiful is this Kenora) (8 lines, p.160); Yar Slavutych: Chayky! Chayky! My friendly birds (8 lines, p.167); Levko Romen: At the edge of sky the thunder rolled like stones (12 lines, p.175); Oleksandra Chernenko: Kievan bells symphony's beautiful (8 lines, p.177). And only to me tomorrow is not smiling (6 lines, p.177). Silently walked we... Over a cross-beam of light (6 lines, p.178). Beaming morning sat on the edge of a window (8 lines, p.178); Borys Oleksandriv: The sky here is bleak and rough (16 lines, p.181). Into darkness of night phantoms forced their way (12 lines, p.182). Be content that worse did not happen (12 lines, p.182); Larysa Murovych: At the Great River of the Rising Sun (14 lines, p.184); Oleksander Hay- Holovko: I fled from my home, glowing in gold (13 lines, p.195); Ihor Shankovsky: Short summer (Among fallen leaves the day took his seat) (16 lines, p.204); Bohdan Mazepa: To a critic (You gaze upon my thorny words) (8 lines, p.206). Rain. Always rain. The streets are foul (6 lines, p.206); Volodymyr Skorupsky: Happy is one who went abroad (7 lines, p.207). An orchard with mint and jasmine flowers (8 lines, p.207).

For identifications of some of the translated poems see Index.

B058. Manning, Clarence A. Ukrainian Literature: Studies of the Leading Authors. With a foreword by Watson Kirkconnell. Plainview, N.Y.: Books for Libraries Press [©1944, 1971]. 126 p. (Essay index reprint series).

Contents: Foreword / Watson Kirkconnell [p.4] Introduction [pp.5-6]. Ch.1. The background of Ukrainian culture [pp.7-16]. Ch.2. Hrihori Skovoroda [pp.17-22]. Ch.3. Ivan Kotlyarevsky [pp.23-33]. Ch.4. Hrihori Kvitka-Osnovyanenko [pp.34-40]. Ch. 5. Taras Shevchenko [pp.41-55]. Ch.6. Pantaleimon [sic] Kulish [pp.56-60]. Ch.7. Marko Vovchok [pp.61-65]. Ch.8. Ivan Levitsky-Nechuy [pp.66-70]. Ch.9. Changing conditions [pp.71-75]. Ch.10. Ivan Franko [pp.76-88]. Ch.11. Lesya Ukrainka [pp.89-95]. Ch.12. Mikhaylo Kotsyubinsky [pp.96-102]. Ch.13. Vasil Stefanyk [pp.103-111]. Ch.14. Oles [pp.112-117]. Ch.15. After 1918. Bibliography [pp.123-126].

A photomechanical reprint of the 1944 ed. published by the Ukrainian National Association. [cf. ULE: Books and Pamphlets, 1890-1965, B41]. The critical and biographical studies of selected writers are presented against the general background of conditions for Ukrainian cultural development in Russia and the Austro-Hungarian empire and contain selected quotations of poetry mostly in the author's own translation; the longer fragments are: Kotliarevs'kyi: Aeneas was a clever fellow (10 lines, p.26); For Vergil, may he reign forever (10 lines, p.28); Aeneas, noster magnus panus (10 lines, p.29). Shevchenko: My grandsir was there and my father who's dead (17 lines, p.48); It makes no difference to me (23 lines, p.51). Lesia Ukrainka: The fellahin and pariahs are happy (7 lines, p.92). O. Oles': I'll weep no more. My sorrow I will fetter (12 lines, pp.114-115); Thou marvelous and wondrous night (8 lines, p.115); Make sport of us, ye winds, and mock us, thunder (12 lines, p.115) / Tr. by A.P. Coleman. The bibliography lists selected English language articles on Ukrainian literature and English translations of Ukrainian literary works.

B059. Medieval Russia's Epics, Chronicles, and Tales. Ed., tr. and with an introd. by Serge A. Zenkovsky. Rev. and enl. ed. New York: E.P. Dutton, 1974. (A Dutton paperback). xv, 526 p. illus.

Part I of this book [pp.43-190] deals with "Literary School of the Kievan era (Eleventh to mid-thirteenth century", i.e. with the medieval literature of Ukraine. It is an anthology of texts in English translations, with commentaries by the editor. Some texts are given in their entirety. Excerpts from the Primary Chronicle [i.e. Povist' vremennykh lit] were translated by Samuel H. Cross, other translations were done by Serge Zenkovsky and - according to the statement in the Preface - most of them appear in English for the first time. The terms "Old Russia" and "Russian medieval literature" appear throughout the book. Parts 2,3 and 4 of this publication deal with "Epigones of the Kievan school", "The era of Muscovite ornamental formalism" and "The wane of medieval patterns and rise of the Baroque". The introduction surveys critically "The literature of Medieval Russia", and covers such topics as christianization, advantages and limitations of the Church Slavonic language, the Byzantine literary heritage, earliest sermons, chronicles, lives of saints and heroic epics [pp.1-17]. The revised edition is an enlarged version of the first edition published in 1963.

Contents of Part I:

A. Epics and stories from the Chronicles: a. Stories from the Primary Chronicle: 1. Prolegomenon. 2. The Apostle Andrew comes to Russia. 3. The founding of the city of Kiev. 4. The beginning of the Russian state and the arrival of Rurik. 5. Prince Oleg's campaign against Constantinople. 6. The death of Oleg. 7. Igor's death and Olga's revenge. 8. Sviatoslav's early campaigns. 9. The siege of Kiev and Olga's death. 10. Sviatoslav's war against Byzantium and his death. 11. Vladimir christianizes Russia. 12. Yaroslav the Wise. 13. The blinding of Vasilko. b. Tales from the Novgorodian Chronicle: 14. Life in the city of Novgorod. 15. Novgorod at war with Suzdal. 16. The election of archbishop Mantury, and Novgorod wars against the Ugrians. c. Stories from the Galician-Volynian Chronicle: 17. Prince Roman, khan Otrok, and the wormwood. B. Homiletic and didactic works: 18. Metropolitan Hilarion: Sermon on law and grace. 19. Cyril of Turov: Sermon on the first Sunday after Easter. 20. Vladimir Monomakh: Instruction to his children. C. The lives of saints and monks: a. Stories from the Primary Chronicle: 21. The martyrdom of Boris and Gleb. 22. The beginning of the Kievan Crypt Monastery, and its founder St. Antonius. 23. St. Theodosius, abbot of the Crypt Monastery. 24. Brother Isaac and the demons. b. Monk Nestor: 25. Life of our blessed father Theodosius, abbot of the Crypt Monastery. c. Stories from the Kievan Crypt Paterikon: 26. Bishop Simon: Viking Shimon and St. Theodosius. 27. Bishop Simon: The coming of the Greek iconographers from Constantinople to abbot Nikon. 28. Bishop Simon: John and Sergius. 29. Bishop Simon: Prince Sviatosha of Chernigov. 30. Monk Polycarpe: Marko the gravedigger who was obeyed by the dead. D. Apocrypha: 31. The descent of the Virgin into hell. 32. Adam's address to Lazarus in hell. E. Epics: 33. The Lay of Igor's Campaign.

B060. Modern Ukrainian Short Stories. Parallel text ed. Edited, with a preface by George S.N. Luckyj. Littleton, CO: Ukrainian Academic Press, 1973. 228 p.

Contents: The editor's preface (pp. 5-6). The pious woman / Vasyl Stefanyk. Tr. by D. Struk. The news / Vasyl Stefanyk. Tr. by G. Tarnawsky. A stone cross / Vasyl Stefanyk. Tr. by D. Struk. On the rock / Mykhaylo Kotsyubynsky. Tr. by P. Kilina and G. Tarnawsky. A strange episode / Volodymyr Vynnychenko. Tr. by L. Hirna and D. Struk. Cedar wood will grow, the earth will settle wide, only man will perish / Mykhaylo Yatskiv. Tr. by G. and M. Luckyj. The problem of bread / Valeriyan Pidmohylny. Tr.by G. and M. Luckyj. My being / Mykola Khvylovy. Tr. by G. Tarnawsky. Black night / Hryhoriy Kosynka. Tr. by A. Savage. In the grainfields / Hryhoriy Kosynka. Tr. by R. Bahrij-Pikulyk. A boat in the sea / Yuriy Yanovsky. Tr. by A. Savage. A sea story / Yevhen Hutsalo. Tr. by G. and M. Luckyj. White flowers / Mykola Vinhranovsky. Tr. by G. and M. Luckyj. My father decided to plant orchards / Valeriy Shevchuk. Tr. by G. and M. Luckyj. The Cobbler / Valeriy Shevchuk. Tr. by G. and M. Luckyj. About the authors.

Translations of the short stories: Vasyl Stefanyk: Pobozhna Novyna Kaminnyi khrest; Mykhailo Kotsiubyns'kyi: Na kameni; Volodymyr Vynnychenko: Chudnyi epizod; Mykhailo Iatskiv: Kedryna bude rosty, zemlia osiade shyroko, lysh cholovik zahyne; Valer'ian Pidmohyl'nyi: Problema khliba; Mykola Khvylovyi: Ia (Romantyka); Hryhorii Kosynka: Temna nich V zhytakh; Iurii Ianovs'kyi: Shalanda v mori; Ievhen Hutsalo: Mors'ka novela; Mykola Vinhranovs'kyi: Bili kvity; Valerii Shevchuk: Mii bat'ko nadumav sadyty sady Shvets'.

According to the editor's preface, the stories were written between 1897 and 1968 and are published in chronological order. The anthology is not meant to be representative of all Ukrainian short stories, but to "reflect modernist trends in contemporary literature, as opposed to the traditional realistic and populist literary schools..." The bilingual parallel text edition is intended primarily for students of Ukrainian language and literature.

B061. Moroz, Valentyn. Boomerang: the Works of Valentyn Moroz. Introd. by Paul L. Gersper. Ed. by Yaroslav Bihun. Baltimore: Smoloskyp [1974]. xxiii, 272 p. map.

Contents: Editor's preface. Acknowledgments. Notes on sources. From the Criminal code of the Ukrainian SSR. Abbreviations. Introduction / Paul L. Gersper [pp.xv- xxiii]. Part One: The works of Valentyn Moroz: Instead of a last word. A report from the Beria reservation. Amid the snows. A chronicle of resistance. Vasiliy Lyubchyk. Moses and Dathan. From the Prelude collection [poems]: Ukraine (Sunny redness, heavy blackness). Bowstring (Trumpets the wind, Svaroh's gray grandson). A late flight (In the sinews - the rumble of wanderings). Prelude (Among the oaks, on land newly grubbed). Lutsk (Lyubart-prince, silverbearded knight). The first day [prose]. Part Two: The case of Valentyn Moroz: Documents: Chapter I: First imprisonment. Chapter II: Taste of freedom. Chapter III: Second arrest. Chapter IV: Second trial. Appeals to the Supreme Court of the UkrSSR. Part Three: Dedicated to Valentyn Moroz: Ihor Kalynets': To Valentyn Moroz ( I would want that this book). Introduction to the cycle "Stone Windmill" (When I remember). Trenos at yet another way of the cross (First sorrow. Second sorrow. Third sorrow. Fourth sorrow. Fifth sorrow. Sixth sorrow. Seventh sorrow. Eight sorrow. Ninth sorrow. Tenth sorrow) [poetry]. Hryhir Chubay: From the cycle "Easter", dedicated to V. Moroz, in the collection Light and Confession (1970): Kosmach - 1970 (all our dwellings and temples are in the valley) [poetry]. Anatoly Radygin: A chance meeting [memoir]. Index.

Valentyn Moroz, a historian and writer born in 1936, was sentenced twice by a Soviet Ukrainian court for "anti-Soviet agitation and propaganda" and was serving his 18 year prison sentence during the time this book was published. Moroz's case attracted wide international attention and he was eventually freed in a swap of prisoners between the governments of the USSR and the USA. In addition to literary material listed in greater detail above, the book contains in Part Two letters of V. Moroz to his wife and to various Soviet officials, as well as letters on his behalf written by O. Meshko, I. Dzyuba, M. Kosiv, M. Osadchy, V. Stus, I. Stasiv, I. Kalynets, R. Moroz, B. Antonenko-Davydovych, V. Chornovil, O. Horyn, V. Drabata, S. Hulyk, M. Kachmar-Savka, V. Romanyuk, M. Voytovych, P. Chemerys. Y. Radchenko, T. Khodorovych, V. Tkachenko.

With a couple of exceptions, the materials included in this book have as their source the samvydav underground journal Ukrains'kyi visnyk published and circulated clandestinely in Soviet Ukraine in 1970-1972. Translations are unattributed. The book jacket for the paperback edition has a biographical note and a portrait of V. Moroz on the front flap and some comments about Moroz from the American and Canadian press, with Moroz's portrait, on the back cover. The map that appears on p. 61 is that of labor camps in the Dubrovlag complex in the Mordovian ASSR. For identifications of Ukrainian titles of Moroz's works and the poems dedicated to him by others see Index.

B062. Moroz, Valentyn. Report From the Beria Reserve: the protest writings of Valentyn Moroz, Soviet Ukrainian political prisoner. Ed. and tr. by John Kolasky. Chicago : Cataract Press [©1974]. xxiii, 162 p. map.

Contents: Translator's note. [p.vii] Foreword / Alexander Sergeyovich Yesenin- Volpin [pp.viii-xv] Valentyn Moroz: a biographical outline / John Kolasky [pp.xvi-xxii] Abbreviations. Ukrainian SSR [map]. Report from the Beria reserve. Moses and Dathan. Chronicle of resistance. In the midst of the snows. The first day. Instead of a final statement. Communications. Appendices. Biographical notes.

A collection of essays and statements written, in the translator's words, "under conditions of tension, insecurity and close police surveillance." Essays by V. Moroz are accompanied by editorial comments and footnotes. Communications and appendices contain petitions and declarations addressed to various Soviet officials written by the imprisoned V. Moroz or on his behalf, as well as a report on his trial in Ivano-Frankivsk in November 1970 and an excerpt from the memoirs of Anatoly Radygin. Most of the writings included in this collection have as their source the underground journal Ukrains'kyi visnyk or some other clandestinely circulating material from the Soviet Ukraine. There is a b/w portrait of Moroz on the back cover of the paperback edition. See also the annotation under B061.

B063. Morrison, R.H. Australia's Ukrainian Poets. Tr. by R.H. Morrison. Melbourne: Hawthorn Press, 1973. 54 p.

Contents: Introduction / R.H. Morrison [pp.1-4]. Lydia Daleka: Summer day in Adelaide (Wind has shredded the clouds). On the sea-shore (Slowly the wind blows). From the cycle: In the everyday circle (Don't move, don't let the minutes be removed). The first snow (Do you remember still how the first snow). Look how the moon has moved (Look how the moon has moved - a censer made of gold). The last chrysanthemums are calling (The last chrysanthemums are calling). The seagull (Each new day, in its paper-wisp whiteness). On the banks of the Torrens (Slantwise the sunlight caresses). Wolodymyr Bilajiw: Words on the paper (Words on the paper - thoughts' uncertain shadow falls). In streams the snowflakes swim (In streams the snowflakes swim, compacted and grey-blue). The chestnut trees (Night shuts gold gates beyond blue mountains, and). Iryna Narizna: Letter from Australia (Winter: the apricots are blooming). Wasyl Onufrienko: So soon I have forgotten (So soon I have forgotten blizzards, frosts, and snow). Let it be so (Let it be so: in chance talk, or at work). The wide and peaceful valleys (The wide and peaceful valleys call one from the peaks). No lofty ceilings (No lofty ceilings shall I boast of in my home). In the flowers of these gardens (In the flowers of these gardens I still to this day can't see spring). Painful to love white winters (Painful to love white winters, woods and streams). Of bread you have enough (Of bread you have enough, and even more). Time is a chain (Time is a chain, and every link a day). Eugene Zoze: Study (Solemn silence of rocks). Above the waterfall (The waterfall bathes the black rock of the mute cliff). Konstantyn Himmelreich: The roadway (A pre-dawn covering of haze). Dew (Chortorohy's somewhere far). The hermit (In that place, where the trams run not). Zoja Kohut: Man (Do not ask). And quiet flows the Don (And quiet flows the Don). Political emigration (Don't let us all be so self-satisfied). Melancholy (To hearts and marsh bad weather's come). A few words (Coffee in the Espresso. I sit smoking). Native city (City of my first words, and first dreams too). Beauty (The first frost-scented snow, the dew we find). Do not ask (Do not ask why you live, with what aim). Ivan Smal-Stotsky: Distance in the quicksands (Distance in the quicksands. Past the circle). Pawlo Dubiw: Credo (When in our former days this distant nation). Dmytro Chub: Autumn melodies (Sombre night, morose and cold). Autumn is over (Already the autumn is past; lone woods stand). Claudia Roschka: Spring (Could one not love the spring? She is ever). Goodnight! (Time goes, unrestrainable and fleeting). Fedir Kowal: Arab horses (Granada nights come on their white mounts). My shadow (When thunder on the tree-tops my sound rends). Bozenna Kowalenko: I love her (I love her, the beloved land that bore me). Leisure (I wander on the ocean shore). Tania Voloschka: My Ukraine (O my Ukraine, beloved land of mine). Biographical notes.

The first two poems by Zoia Kohut, according to Morrison's introduction, are her own English versions of her own poems, and not his translations. Biographical notes appear on pp.51-54 and provide bio-bibliographical data about each poet in the collection. For identifications of individual poems see Index.

B064. Osadchyi, Mykhailo. Cataract. / Mykhaylo Osadchy. Translated from the Ukrainian, edited, and annotated by Marco Carynnyk. New York: Harcourt Brace Jovanovich [©1976]. xxiii, 240 p. illus. (A Helen and Kurt Wolff book)

Contents: Translator's note / M.C. [pp.vii-viii]. Introduction: Caliban's education / M.C. [pp.ix-xiii]. Cataract: Part one: The comedians. Part Two: The city of the sun. The aftermath: 1. Vyacheslav Chornovil's view of the trial. Letters from Yavas. 3. The persecuted of the regime. 4. In defense of Svyatoslav Karavansky. 5. Continuing persecution. 6. In defense of Valentyn Moroz. 7. More harassment. 8. And rearrest. Notes. Index.

According to the translator's introduction, Mykhailo Osadchyi, a poet and literary scholar born in 1936, was found guilty of "anti-Soviet agitation and propaganda" at his trial in April 1966 and was sentenced to two years in a strict-regime labor camp. After his release in March 1968 he wrote a memoir of his arrest, trial and imprisonment. This memoir was smuggled to the West and published first in Ukrainian as Bil'mo, then in this English translation as Cataract. In 1972 the author was rearrested and during the publication of this English edition was serving another term in a Soviet labor camp. The memoir Cataract appears on pp. 3-153. The aftermath contains statements by and about Osadchyi relating to his trial and imprisonment and to his fellow prisoners. The sole illustration in the book is a reproduction of Ivan Marchuk's painting "The sad raven" used as a frontispiece.

In addition to the hard bound edition, Cataract was also published as a paper back, "A Harvest Book, HB 336", by the same publisher with the same cover design by Bascove, which has a subtitle: "A Ukrainian poet's memoir of repression and resistance". Publisher's note on the cover of both editions characterizes the book as "outstanding as a literary document", not only "a memoir of trial and imprisonment", but "also the work of a poet, a book that sings."

B065. Ovcharenko, Maria M. Gogol (Hohol') and O machka. Charleston, Winnipeg: UVAN (Canada), 1969. 48 p. illus. (Slavistica, no.64).

A study of Nikolai Gogol's influence on the prose of the Ukrainian emigré writer Todos' Os'machka (1895-1962). Gogol's inluence, according to Ovcharenko, is reflected above all in Starshyi boiaryn, where Os'machka "adopts some Gogolian devices in structure and style" and also to a lesser degree in Os'machka's novels Plan do dvoru and Rotonda dushohubtsiv. "In structural devices," says Ovcharenko, Os'machka "either rearranges Gogolian hints or ideas to his own version, or works them out to complete scenes of action. His affinity to Gogol is shown primarily in ornate, lyrical, or rhetorical passages, in long baroque-like sentences, glittering with unusual metaphors and poetic words, put into rhythmical movements." "...Os'machka's meditations and descriptions of nature are strongly redolent of Gogol's stylistic expressiveness, in which he favors Gogolian grandeur of multi-color and multi-sound images enhanced by hyperbolic, elaborate comparisons," says Ovcharenko. The study, illustrated with b/w portraits of Gogol and Os'machka, ends at p. 39. Pp. 40-43 contain notes, pp.45-48 are an advertisement for UVAN's "Onomastica" and "Bibliography" series.

B066. Pan Kots'kyi: ukrains'ka narodna kazka = Pan Kotsky, the Cat-O-Puss, Ukrainian folk tale. Tr. from the Ukrainian by Anatole Bilenko. Illustrated by Adele Hilevich. Kiev: Dnipro, 1972. 16 p. col illus. (7 full page).

Parallel text edition: Ukrainian and English.

B067. Parkhomenko, M. Renovation of Traditions (Traditions and Innovation of Socialist Realism in Ukrainian Prose). / Tr. from the Russian by Olga Shartse. Designed by Vladimir Tikunov. Moscow: Progress Publishers [©1976]. 301 p.

Contents: Introduction. Ch.1. Problems of traditions and innovation at the turn of the century. Ch.2. Ivan Franko. Ch.3. Vasil Stefanik. Ch.4. The peak of Ukrainian critical realism. Ch.5. Revolution - Literature - Traditions - Innovations. Ch.6. Andriy Holovko. Ch.7. Ivan Mikitenko. Ch.8. Yuri Yanovsky. Ch.9. Oles Honchar. Ch. 10. Mikhailo Stelmakh. Conclusion.

Parkhomenko attempts to answer the following questions which he poses in his introduction: "What are the national traditions of classical prose that have nurtured Ukrainian literature of the past century and continue to nurture it in the Soviet era? Which of these traditions have been further developed? What part did they play in shaping the creative method of socialist realism? What is new in Ukrainian prose? What new traditions have been formed? In what direction are they developing? Which of these traditions and novel tendencies are the most fruitful and promising? What harm is done to Ukrainian literature at the modern stage by pseudo-romantic tendencies?"

Franko is discussed both as a critic and literary scholar with his own views on aesthetics, tradition and literary development and as a writer who was the first to present the working class as an active force in social struggle and "created characters of workers, fighting their first class battles with capital" and thus, in Parkhomenko's view, may be considered "the founder of the method of socialist realism in Ukrainian literature and even more - in all world literature (as Franko had come out with these characters and ideals 25 years before Gorky)." Stefanyk, whose short stories are analyzed in some detail, "marked a new stage in the development of democracy in Ukrainian literature and presented contemporary life 'from below' - from the point of view of the people and not the elite..," says Parkhomenko. The peak of critical realism in Ukrainian literature, according to the author, was reached by M. Kotsiubyns'kyi in whose work "The socialist ideal... acquired concreteness, the themes and idiom of national prose were greatly enriched and psychological analysis attained the depth to be found only in the masterpieces of world realist literature." The period after the revolution of 1917 was marked by an intensive search for new aesthetic principles. "Even after the Revolution," says Parkhomenko, "many Ukrainian writers clung to critical realism and romanticism, and their transition to socialist realism was a process... of accumulation of qualitative changes, as a result of which critical realism developed, as it were, into socialist realism." Andrii Holovko is credited as the first writer "to produce an artistically significant image of a Bolshevik, a Communist." "With the publication of the novel Weeds (1927)", says Parkhomenko, "the aesthetic ideal of Ukrainian prose acquired that ideological (socialist) and artistic (realistic) definitude in the light of which the basic principles of realism took on a new quality, as the principles of a new, then shaping method." Parkhomenko discusses the role of Mykytenko as the head of the Writers' Union and an influential promotor of socialist realism and as the author of the novel Morning whose "educational impact and the influence it had on the young generation of the day" was, in Parkhomenko's opinion, almost as great as that of Nikolai Ostrovsky's How the Steel Was Tempered and Anton Makarenko's The Road to Life. Parkhomenko attempts to defend Ianovs'kyi against "biased view" and "unfair charges" of some critics, who allege that he "romanticises in equal measure the good and the bad". "The basic principle of Yanovsky's romantic style is a truthful reflection of reality. But in describing it he strives for such a condensation of the material that obviously it exceeds the capacity of realistic forms," says Parkhomenko. Oles Honchar is characterized as "a true master with a perfect sense of proportion" whose novel Tronka "confirms the viability of the lyrico-romantic trend in modern prose" where the writer's "sober realism feels quite at home in the robes of romantic figurativeness." M. Stel'makh, in Parkhomenko's view, also has "a lyrico-romantic turn of mind" and achieved a synthesis of "artistic means drawn from romantic sources" with realistic techniques in what Parkhomenko considers Stel'makh's best book - the novel Let the Blood of Man Not Flow.

Throughout the book Parkhomenko singles out the influences of Russian literature and cites at length the opinions of Russian literary critics and scholars. Panteleimon Kulish, V. Vynnychenko and M. Khvylovyi - writers frequently ignored entirely in Soviet publications, are discussed briefly with critical comments.

B068. Pazuniak, Natalia. Lesya Ukrainka - Ukraine's Greatest Poetess. / Natalia I.- Pazuniak. New York: Svoboda, 1971. 22 p.

An off-print of the article published originally in Ukrainian Quarterly [27.3 (1971), cf. A1140], with an added Appendix [p.19], Bibliography [p.22] and a bio-bibliographical note about the author on the verso of the title page. In the Appendix the author attempts to delineate the differences between the world views and political philosophies of Lesia Ukrainka and her uncle Mykhailo Drahomanov. According to Natalia Pazuniak, Lesia Ukrainka did not share Drahomanov's cosmopolitanism, rejected individual terror, and differed with her uncle in her views on Russian-Ukrainian relations and on the role of a poet in society.

Written on the occasion of Lesia Ukrainka's birth centennial, the article provides a biography of the poet and a discussion of the substance and main characteristics of her poetry collections and of each of her main dramatic works.

B069. Pidmohyl'nyi, Valer'ian. A Little Touch of Drama. / Valerian Pidmohylny. Tr. from Ukrainian by George S.N. and Moira Luckyj. With introd. by George Shevelov. Littleton, CO: Ukrainian Academic Press, 1972. 191 p. (Ukrainian classics in translation, no.1).

Contents: Contents. The translators' preface [pp.7-8]. A disturbance in the protein / George Shevelov [pp.9-16]. An ivy all alone in the world. Flowers from an unknown knight-errant. The beautiful siren - Irene. Four in a room, apart from the girl. Two in a room, apart from the girl. Alone with a girl in a room. Bayadere, you enchant me. Bayadere, you have intoxicated me. A homely Othello. A scandal in a well-born family. Mädel klein, Mädel fein... What is new under the light of the moon? Oh dear Lord, why do you punish the girl? On a spring night all the orchards are a-whisper and everything speaks of love... Love is only a fireplace where the best dreams are burnt. An elegy for cheap spectacles.

Translation of Pidmohyl'nyi's novel Nevelychka drama, which was published first in 1930, serialized in the Soviet Ukrainian journal Zhyttia i revolutsiia and appeared in book form for the first time in Paris in 1957. Each chapter has its own title as listed in the contents. These titles, according to the translators' preface, are meant to convey the "ironic overtones of the work". Shevelov's introduction is a slightly abridged translation of the article which appeared originally in 1957 in Ukrains'ka literaturna hazeta, published in Munich, Germany. Shevelov calls Nevelychka drama "a pre-existential novel" which "foreshadows Sartre's Huis-clos" and whose agnosticism "anticipates the idea of human alienation." Biographical data about the author are given in the translators' preface.

B070. Pidsukha, Oleksandr. Lyrics=Lyrika. / Olexandr Pidsukha. Tr. from the Ukrainian by Walter May. Kiev: Dnipro, 1979. 117 [i.e.119] p. illus., port.

Parallel text edition: Ukrainian and English. Illustrated by O.M. Ievtushenko.

Contents: Champion of peace / Ivan Drach. Native land (Here - my thoughts on life all had their start). Lenin (Still a youngster). Presentiments of spring (1. There's such a restless character in me). 2. What wonderful prospects dreams now bring. 3. The days run by... The days run by...). *** (It's fine - with your girl hand in hand). *** (Let us go, my dear to the pond). *** (Don't try your attractions on me). *** (The orchards rustle, and rye-stalks swish). *** (Who's felt, how early in the spring). *** (Unnoticed, night has neared the day). *** (Happiness - not to cease). *** (Although I shall live and die). *** (The sun's descending in the west). Thoughts (Not he it seemed - I, though, instead). Mother rocked me in my cradle (Mother rocked me in my cradle). Ballad about my uncle (I saddle up and ride. The roadway leads). One in age (Father, you and I are one in age). *** (Blessed is he, who the silver line). *** (Specially for me, and on my birthday too). *** (No praise! I don't need praise from you). *** (I've told, I've taught you long ago). *** (What then am I? A bridge across life's stream). *** (There's clarity, and a wakeful spirit once more). Meditation time (The wild wind unbridled ranges). *** (My worry, my roads, my hurry). Early spring (The sky is clear, and pure as a tear). I shall bring you to life in my song (1. Stealing up on me slow, stealing up like a snake. 2. Those doctors I can't comprehend. 3. Say, can there be sorrow. Song: "Sweatheart, dearest, the spring's in the grove." 4. All-powerful, O Death, your sway. 5. Without a smile she didn't live a day. 6. Katerina, why do you delay? 7. I can't console my heart, nor stop its crying. 8. Don't disturb me, my dear Katerina. Oath after battle (The night the three of us stood in one trench). From Canadian Note-book: First day (We travelled from the Dnieper on our plane). Second day (There's a magical charm of some kind). Fifth day: A hotel like any other... Blue-eyed woman (Pani Halina! Heavens that's a wonder). Sixth day: Song of the blue-eyed emigrant (Long alone, long alone). Ninth day: One man accompanied me to my hotel. We love the Ukraine. Twenty-first day: Lavrin Borozna's trip to the Ukraine (A certain man lived quietly abroad). Twenty-third day: The days are growing longer. O give me the breeze from the Dnieper). Twenty-fifth day: Returning home (Above me an emerald sky once more).

Portrait of the author appears on front flap of the book cover only. Says Drach about Pidsukha in his foreword: "...all Pidsukha's lyrical poems reflect the flames of the past war, even those whose subjects are far from those grim years."... Pidsukha, according to Drach, "writes straight from his heart. His poetry is often more like prose, but there is no false beauty in it, no sentimental gilding or insincere emotions."

For identifications of individual poems see Index.

B071. Polowy, Hannah. Adam's Sons. By Hannah Polowy and Mitch Sago. An English stage play based on Olga Kobylyanska's Ukrainian literary classic "Zemlya" (Land). Toronto: Ukrainian Canadian [©1969]. 110 p. illus., port.

Originally, the authors attempted to translate the script of "Zemlia", a stage play by the Ukrainian playwright Vasyl' Vasyl'ko (in text: Vasil Stepanovich Vasilko), based on Ol'ha Kobylians'ka's novel of the same title. In the process of translation, however, the authors felt it necessary to restructure the play for an English speaking audience, and to create new scenes. "What began as an English translation of Vasilko's stage play of "Zemlya" gradually evolved into the script of "Adam's Sons," say the authors. The introduction claims, in addition, that the real- life prototype of Sava in Zemlia, "who killed his brother in a desperate attempt to become the sole heir to his father's land", emigrated to Canada and lived in the city of Regina under the name of Sava Zhizhian. The authors did some research on this, spoke to Sava Zhizhian's son, who told them that his father died in 1934, never having spoken about the events described in Kobylians'ka's novel. They found no mention of Sava Zhizhian in the obituary columns for 1934 of the Regina Leader-Post, but found a record of one Sava Jigian who died on 3 August 1934 at the age of 61. (A death certificate in that name issued by the Department of Public Health of the Province of Saskatchewan is reproduced on p.9). There is a four and a half page introductory article about Ol'ha Kobylians'ka on pp. 14-19, signed M.J.S. The article provides a biography of the writer and some anecdotal data about her acquaintance with the Zhizhian family. Zemlia is characterized as her best known novel, one which is written "in the great tradition of world literature", and belongs, in the author's view, "in the company of such works as Les Paysans (The Peasants) by Balzac and La Terre (The Land) by Zola." MJS stresses that Kobylians'ka was "preoccupied with the fate of woman and the equality of the sexes" realizing that "part of the struggle to emancipate women was the need to lift them above the traditional stereotype." Zemlia, says MJS, "is based on actual events in the fall of 1894, in the village of Dimka. What happened was like a parable on the story of Cain and Abel in Genesis. The youngest son of Konstantin Zhizhian, the prototype of Sava in the novel, kills his brother." There is, in addition, a two-page article "The Ukrainian play "Zemlya", with Vasyl'ko's b/w portrait (pp.20-21). Vasyl'ko, according to this article, "sought to preserve the main ideas of the author in developing an effective transition to the stage. He wanted to bring to life the vivid and earthy characters of the story and to re-create the contrasting sights and sounds of peasant life with its undercurrents of strife, conflict and tragedy. In the process he wrote a number of new scenes with a view to highlighting the contrasts, sharply delineating content and motivation, and adding to the dramatic impact of the stage play." Vasyl'ko's play was staged for the first time in 1947. Adam's Sons consists of two acts (16 scenes) and includes musical numbers. The book is illustrated with b/w photos from the film Zemlia made by the Kyiv Film Studio in 1954. A large portrait of Ol'ha Kobylians'ka appears on p.13.

B072. Prokopiw, Orysia. An Introduction to Lesya Ukrainka. Calgary, Alberta: Ukrainian Women's Association of Canada, Olha Basarab Branch, 1971. unpaged [i.e. 14 p.). port. Biblio. notes.

The focus of this essay is on the formative influences on Lesia Ukrainka's life and work: her education at home, her collection of folklore, her association with the Lysenko and Staryts'kyi families, her study of foreign languages and literatures, her translating work, her travels to health resorts in Italy, Crimea, the Caucasus and Egypt, the role of her uncle Mykhailo Drahomanov and of the Bible. "By her continuous drawing of material from various sources and epochs L. Ukrainka was obviously striving to lead Ukrainian literature out of its provincialism," says Prokopiw, but "her endeavors were not appreciated by her contemporaries" and her "fame was almost entirely posthumous." "Without any doubts", says Prokopiw, "this poet-playwright is worthy of further research and of further translation..." The pamphlet was published to mark Lesia Ukrainka's birth centenary.

B073. Prokopiw, Orysia. The Ukrainian Translations of Shakespeare's Sonnets: a stylistic analysis. Ottawa, University of Ottawa & Gateway Publishers, 1976. x, 334 p. (University of Ottawa Ukrainian Studies, No.2).

Contents: Foreword. I. A historical background. II. The structure of the sonnets. III. Rhetorical figures. IV. Imagery. Conclusions. Bibliography. Transliteration table. Index of names.

Prokopiw's study, according to her own statement, "rests on the premise that the foremost duty of the translator is to provide the reader of his language a true representation of the author he is translating, that, during the process of his re-creation, the spirit of the original should have undergone a transmigration into the translation. The degree to which the translator is successful in reflecting Shakespeare within his works, or achieving the desired metempsychosis, can be ascertained by a comparative analysis in compliance with the above set of standards. In this analysis the comparisons of the translated sonnets with that of the original are based upon structure, rhetorical figures, and imagery." Prokopiw subjects to her stylistic analysis all of the 154 sonnets in Ihor Kostets'kyi's and Dmytro Palamarchuk's translations as well as 48 other translations of Shakespeare's sonnets by nine Ukrainian translators: Pavlo Hrabovs'kyi (1), Maksym Slavins'kyi (2), Ivan Franko (8), Sviatoslav Hordyns'kyi (8), Sviatoslav Karavans'kyi (10), Vasyl' Onufriienko (2) Ostap Tarnavs'kyi (4), Yar Slavutych (4) and Oleh Zuievs'kyi (9).

B074. Prykhod'ko, Mykola. Good-bye Siberia. / Nicholas Prychodko. Markham, ON [Canada]: Simon & Schuster of Canada, 1976. 346 p. (A Pocket Book edition).

An unattributed translation of Dalekymy dorohamy, published originally in English as Stormy Road to Freedom [cf. B075; cf. Encyclopedia of Ukraine, v.4, p.259]. A note about the author opposite the title page identifies Nicholas Prychodko as the author of another novel One of the 15 Million and a fellow of the International Mark Twain Society. Nowhere is there any indication that the novel is a translation from the Ukrainian, or that Prychod'ko is a Ukrainian writer.

B075. Prykhod'ko, Mykola. Stormy Road to Freedom. / A novel by Nicholas Prychodko. With a foreword by Igor Gouzenko. New York: Vantage Press [©1968]. 356 p.

Gouzenko's foreword characterizes the book as "written in a best tradition of famous Slavic writers" [sic] with "many episodes where sex and brutality exist as they do in life", but one in which "spiritual values are raised to their due heights." There is no indication anywhere that this novel is translated from Ukrainian or that the author is a Ukrainian writer. Stormy Road to Freedom is, apparently, the author's own abbreviated and much revised version of his Ukrainian novel Dalekymy dorohamy, published in two volumes in Toronto by Vilne Slovo in 1961.

B076. Revolutionary voices: Ukrainian political prisoners condemn Russian colonialism. Munich: Press Bureau of the Anti-Bolshevik Bloc of Nations (ABN), 1969. 156 p. illus.

A collection of articles reprinted from ABN Correspondence, nos.1-5, 1968. This anthology of protest writings from Ukraine, even though it includes among its authors poets, writers and literary critics (V. Chornovil, I. Dziuba, S. Karavans'kyi, V. Moroz) has a political rather than literary character. Of interest to literary scholars, however, may be some bio- bibliographical data about V. Chornovil, with his portrait on pp.1-3 and his reports which include specific data about repressions of Ukrainian writers in the USSR (pp.4-36); Dziuba's Chapter 7 of his work Internationalism or Russification (pp.37-55) and his "Babyn Yar continues" (pp.56-57) and V. Moroz's memoiristic "Report from the Beria Reservation" (pp.116-138).

B077. Revolutionary Voices: Ukrainian political prisoners condemn Russian colonialism. Ed. by Slava Stetzko. Foreword by Ivan Matteo Lombardo. [2d rev. ed.] Munich: Press Bureau of the Anti-Bolshevik Bloc of Nations (ABN), 1971. , 269 p.

This second expanded version of the anthology of protest writings from Ukraine [see also B076], has additional material covering the case and trial of Valentyn Moroz (pp.1-84), including his essay "Among the snows" (pp.22-42), "The chronicle of resistance" (pp.43-58) and Ievhen Sverstiuk's reflections on O. Honchar's novel Sobor, "Cathedral in scaffolding" (pp.59- 85) - all of which are of potential interest to literary scholars. The other relevant materials mentioned in annotation for B076 appear in this edition with different paging, i.e. Chornovil biobibliographical data - pp.86-87, his reports - pp.89-122, Dziuba's Internationalism or Russification, Chapter 7 - pp.123-141, "Babyn Yar continues" - pp.142-143, Moroz's "Report from the Beria Reservation" - pp.212-235. A listing of Ukrainian prisoners of conscience in the USSR (pp.247-253) has some bio-bibliographical data on a number of Ukrainian writers.

B078. Ribald Russian Classics. Adult stories from the folk-lore of Russia. Complete with illustrations and unexpurgated text of the rare Charles Carrington 1897 edition. With an introd. by Milton Van Sickle. Los Angeles: Holloway House [1966]. 314 p. illus. (An original Holloway House edition).

From the introduction by Milton Van Sickle: "This first American edition is based entirely on the English edition, published in 1897 in Paris by Charles Carrington". [The title of another not identified English edition, according to Van Sickle, was Secret Stories of Russian Folk Lore, but an added reproduction of the original 1897 ed. has the following data: Stories from the folk-lore of Russia. Rouskiya Zavetnuiya Skazki done into English by the translator of "The Book of Exposition in the Science of Coition", "The Old Man Young Again" and other charming works ejusdem farinae. Paris: Charles Carrington, 1897. (Studies in European Storiology)]. Van Sickle in his introduction discusses these stories by comparing them to Boccaccio's Decameron, Chaucer's Canterbury Tales, and noting the differences between the literary versions based on folk-lore, and true original folktales. Says Van Sickle: "Almost all of these tales have a course, slapstick humor which is similar in many ways to the humor of Aristophanes of Athens and Plautus of Rome and of the medieval Italian people's theatre, the Commedia dell'Arte..." "It is impossible to tell who the translator and author of the foreword was; he doesn't even sign his initials."... The following is a statement from the translator's foreword: "The Cossack tales in this volume are translated from a collection in the Little Russian dialect, published in a limited edition. The original, from which our version is translated, exists in the Bibliotheque Nationale, Paris, and consists of a small unbound in-8 book of about 200 pages. No author's name figures on the title page and the only indication of its origin consists of the following rather enigmatic superscription: "BALAAM, Printed on the presses of the Monastic Brotherhood in the year of the devilry of gloom." Our version is the first that has yet appeared in the English language. A French text was issued by our old friend, Isidore Liseux, and edited with his customary care, but without illustrations or annotations, moreover it was prepared solely for French bibliophiles and book-amateurs." The back cover of the 1966 Holloway House book, says, under the heading "Literature": "These Russian folk tales are authentic. It is a miracle that we find them here in print. For well over a hundred years, these stories have circulated freely among the Ukrainians of Southern Russia..." The copy of the present edition was borrowed for this bibliography on Inter-Library Loan from the John F. Kennedy Memorial Library at California State University in Los Angeles. It is marked as no.239 of a limited edition of 500 copies.

Contents: Introduction / Milton Van Sickle (pp.7-13). Contents. Translator's foreword (pp.25-43). List of Russian words. Secret stories of Russian folk-lore: I. The vixen and the hare. II. The sparrow and the mare. III. The bear and the peasant woman. IV. The wolf. V. The peasant, the bear, the fox, and the gad-fly. VI. The cat and the vixen. VII. The louse and the flea. VIII. The woodpecker. IX. The vagina and the arse. X. Wash the bottom. XI. Bad, not bad. XII. The fool. XIII. The pike's head. XIV. An unfortunate marriage. XV. A timorous young girl. XVI. The hot cock. XVII.[Described as "proverbs of a punning nature", not translated]. XVIII. [Described as "a beggar's song", not translated]. XIX. Family conversations. XX. The first interview between a lover and his lass. XXI. The Moujiks and the Barine. XXII. The intelligent housewife. XXIII. No! XXIV. The husband who hatched the eggs. XXV. The hunter and the satyr. XXVI. The peasant and the devil. XXVII. The peasant who did his wife's work. XXVIII. The blind man's wife. XXIX. The grouse. XXX. The Bishop's reply. XXXI. A crop of prickles. XXXII. The enchanted ring. Another version (1). XXXIII. The excitable lady. XXXIV. Dog-fashion. XXXV. The two wives. XXXVI. The modest lady. XXXVII. The good father. XXXVIII. The pope who begot a calf. XXXIX. The pope and the trap. XL. The pope, his wife, his daugther, and his man. XLI. The sucking-pig. XLII. The spiritual father. XLIII. The pope and the peasant. Another version. Another version. XLIV. The pope and his man. Another version. XLV. The pope's family, and the man-servant. XLVI. The comb. XLVII. Making it warm. XLVIII. The burial of the dog (and the goat). Another version. XLIX. The sentence concerning the cows. L. The greedy pope. LI. Laughter and tears. LII. The marvelous ointment. Another version. Another version. LIII. The wonderful whistle. LIV. The shepherd. LV. The soldier, the peasant, and the girl. LVI. The soldier who slept whilst his cock worked. Another version. LVII. The soldier and the woman of Little Russia. LVIII. The soldier and the Little Russian. LIX. The deserter. LX. The soldier and the pope. LXI. The soldier's wedding present. LXII. The mother-in-law and the foolish son-in-law. LXIII. The talkative wife. LXIV. The pope who neighed like a stallion. Another version. LXV. The cunning woman. Another version. Another version. LXVI. The Jewess. LXVII. Nicholas the hermit. Another version. LXVIII. The two brothers. LXIX. The girl without a head. Another version. LXX. Women's mischief. LXXI. Curious names. LXXII. The pope and the Tsigane. LXXIII. The good pope. LXXIV. A wager. LXXV. How I am. LXXVI. The merchant's wife and the clerk.

B079. Ryl's'kyi, Maksym. Taras Shevchenko. A biographical sketch. / Maxim Rylsky, Alexandr Deich. Tr. into English by John Weir. Kiev: Dnipro, 1979 [©1974]. 99 p. illus. ports. (Classics of Ukrainian literature).

Contents: Introduction. Childhood. In St. Petersburg. The making of a poet. Arrest and exile. Freedom on a chain. Calling Russia to take up the ax. Great people's poet.

This popular biography, interspersed with Shevchenko's poetry in translation, was first issued in 1964 in Moscow by Progress Publishers. [cf. ULE: Books and Pamphlets, 1890-1965. B55]. The Kyiv 1979 edition, however, differs substantially from the earlier Moscow edition. There are many stylistic and even some substantive changes, added poetry translations in text and different illustrations. The longer poetry quotations are as follows: When I am dead, then bury me [8 lines, p.8] ...Rise ye up [8 lines, p.9] That little cottage by the copse [23 lines, p.16] My sons, my Haidamaki brave [20 lines, p.45] Await no good, Expected freedom don't await [8 lines, p.84]. Poetry translations, apparently, are also by John Weir. Examples of some stylistic and substantive changes between the two editions: Moscow ed., p.56: "With all his heart he yearned for Ukraine". Kyiv ed., p.70: "With all his heart he yearned for the Ukraine, although she, too, was deprived of freedom"; Moscow ed., p.25. "Shevchenko keenly hated the autocracy. He hated all forms of oppression of man by man, and he hated all oppressors." Kyiv ed., p.34: "Shevchenko keenly hated all oppressors"; Moscow ed., p.26: "And indeed, Shevchenko's verse found a broad audience and won the warm approval of the people". Kyiv. ed., p.36: "And indeed, Shevchenko's verses immediately found a wide readership among the common people and progressive intellectuals, who greeted the appearance of the collection with great enthusiasm." The booklet (10x15 cm) has 13 b/w illustrations, among them two self-portraits of Shevchenko, Shevchenko's portraits of M.S. Shchepkin and Ira Aldridge, photos of two monuments to Shevchenko and reproductions of his paintings and drawings.

B080. Shabliovs'kyi, Ievhen. The Humanism of Shevchenko and Our Time. / Yevhen Shabliovsky. Tr. by Mary Skrypnyk with participation of Petro Kravchuk. Kiev: Naukova dumka, 1971. 326 p. illus. (part. col.).

Contents: Foreword. Ch.1. Humanism - a basic principle of Shevchenko's work. Ch.2. The humanism of Shevchenko against a background of his era. Ch.3. The humanistic traditions of Shevchenko and further development of Ukrainian literature. Ch.4. Shevchenko and world progressive culture.

Translation of a book originally published in Ukrainian under the title: Humanizm Shevchenka i nasha suchasnist'. "Few in the history of world culture defended man, all that was human in man, with such passion and such selflessness as did Shevchenko. Humanistic ideals constitute the basic thought, substance and soul of the great Kobzar's works," says Shabliovs'kyi. He defines what he considers to be the basic questions of Shevchenko's time as "the struggle against autocracy and serfdom", "liberation from despotism", "political freedom for the broad masses", "the necessity of culture and education for the people", "the struggle against reaction and obscurantism" and "the unmasking of the entire system of social and national oppression". Each of these questions is dealt with in some detail with numerous quotations from Shevchenko's poetry in John Weir's, Herbert Marshall's, Olga Shartse's, C.H. Andrusyshen's and Watson Kirkconnell's translation. In his final chapter, the author makes the following conclusion: "Shevchenko's work, with its humanism, its appeal to unity among people, shows the organic link of national aspirations with socialism". In discussing Shevchenko's influence on other Ukrainian writers in Ch.3, the author says: "Democratic writers, in their struggle against reactionary and bourgeois-liberal tendencies, found powerful support in Shevchenko's work, in his aims and traditions." Here some fragments of poetry of Franko, L. Ukrainka and B. Hrinchenko are quoted in, apparently, P. Cundy's translation. Among the book's illustrations are Shevchenko's self-portrait in color, Shevchenko's portrait of Ira Aldridge, three reproductions of his drawings or paintings, two autographs of his poems, a collage of Shevchenko books in various languages and a color portrait of Shevchenko embroidered on linen.

B081. Shabliovs'kyi, Ievhen. Ukrainian Literature Through the Ages. / Yevhen Shabliovsky. Kiev, Mistetstvo, 1970. 241 p. ports.

Contents: Introduction. Ukrainian culture and folk creativity of the 16th and 17th centuries. Ukrainian literature and folklore of the 17th and 18th centuries. Ukrainian literature of the pre-Shevchenko period. Taras Shevchenko - founder of the new Ukrainian literature. Ukrainian literature after Shevchenko. Soviet Ukrainian literature. Name glossary.

Translated from the Ukrainian by Abraham Mistetsky, Andrew Marko, Anatole Bilenko. Verses translated by John Weir. Ed. by Anatole Bilenko. The frontispiece has portraits and autographs of H. Skovoroda, I. Kotliarevs'kyi, T. Shevchenko, I. Franko, L. Ukrainka, M. Kotsiubyns'kyi, M. Ryl's'kyi, P. Tychyna, O. Dovzhenko, O. Korniichuk. The book's cover in color (designed apparently by Vitaly Mashkov) consists of a collage of book covers of selected publications in Ukrainian literature. On the front flap of the cover Shabliovskyi's book is described in the following words: "It is not a classical history of literature, but rather a collection of interpretative essays in which the author concentrates on the broad underlying trends in Ukrainian letters, moving from these to individual authors and their books, poems and plays." The author's aim, as stated in his introduction, is "to reveal the historical foundations of Ukrainian literature, to show what its most characteristic ideas and esthetic values are, and to define the essence and evolution of its leading literary images." The back flap of the cover has the author's b/w portrait and a bio-bibliographical note on Shabliovs'kyi which mentions the fact that he wrote "a number of fundamental Marxist monographs on the life and works of Shevchenko and his relations with the Russian revolutionary democrats" and that in 1964 Shabliovs'kyi was awarded the Lenin Prize for literary scholarship.

The book itself contains a number of poetry and prose quotations in translated fragments. The longer excerpts are: Great woes the Ukraine have befallen [p.17, 8 lines]. Letter of the Zaporozhian Cossacks to the Sultan [excerpt] [p.19]. Hey, the guelder-rose in the meadow [p.32, 8 lines]. Far beyond the Danube wide / Semen Klimovsky (Klimov) [p.46, 12 lines]. There's noise, mother, noise [p.48, 10 lines]. What's taking place upon the earth can hardly be described [pp.49-50, 10 lines]. On the hill a maple stands / H. Skovoroda [p.54, 8 lines]. Don't sing. O nightingale / Victor Zabila [p.72, 8 lines]. So join hands, my youthful friends / Markiyan Shashkevich [p.75, 8 lines]. The time is coming very soon / T. Shevchenko [p.88, 7 lines]. Await no good / T. Shevchenko [p.93,8 lines]. My beautiful country, so rich and resplendent / T. Shevchenko [p.100, 11 lines]. Not a modest cottage / T. Shevchenko [p.106, 13 lines]. You won't escape / T. Shevchenko [p.109, 12 lines]. Then land and lake with life will team / T. Shevchenko [p.110, 12 lines]. The smallest fry / T. Shevchenko [ p.112, 13 lines]. I have seen the strong insanely / Yakiv Shchoholiv [p.140, 8 lines]. Your patriotic feelings / I. Franko [p.143, 8 lines]. Ukraine has often seen the kind / L. Ukrainka [p.143, 8 lines]. To a new kind of war we are marching / I. Franko [p.144, 8 lines]. Of that great blazing floodtide are you frightened / I. Franko [p.145, 11 lines]. We paralitics are with gleaming eyes / L. Ukrainka [p.148, 8 lines]. I sit in confinement in deep reverie / Pavlo Hrabovsky [p.151, 6 lines]. Look there! Weak with weeping, trembling with fright / Y. Fedkovich [p.153, 11 lines]. Maple leaves / V. Stefanik [p.154, excerpt]. People, people, I'm your brother / I. Franko [p.155, 8 lines]. It's midnight. Silence. Cold. The wind is howling / I. Franko [p.158, 13 lines]. My mind is troubled by disturbing thoughts / I. Franko [p.159, 8 lines]. You do not flog or to Siberia drive / I. Franko [p.160, 6 lines]. The gray cuckoo 'gan calling at morning / Petro Nishchinsky [p.164, 6 lines]. The Proprietor [Khaziain] / Karpenko- Kary [excerpt] [p.165]. But if ever the honor and freedom / L. Ukrainka [p.168, 8 lines]. I have no love for you, I hate you, mountain eagle / I. Franko [p.169-170, 6 lines]. This world, Where hitherto we've lived as guests / I. Franko [p.173, 9 lines]. The banks overflowed and the woes of the Rus / I. Franko [p.180, 6 lines]. I thought of the new human brotherhood's birth / I. Franko [p.189, 6 lines]. World-wide battle trumpets / V. Sosyura [p.198, 9 lines]. Row on row the workers stride / P. Tychina [p.202, 8 lines]. Ours this day that cheers and braces / Vasil Ellan Blakitny [pp.202-203, 8 lines]. I am the people and my truth-born power / P. Tychina [p.203, 8 lines]. What hearts you've tempered in your forge / Maxim Rylsky [p.203, 7 lines]. For me my country is Lenin's appeal / M. Rylsky [p.204, 6 lines]. You're really loyal, no-one's truer / O. Oles [p.205, 6 lines]. You lay there huddled, woebegone and weak / Andriy Malishko [pp.209-210, 11 lines] Amid sister nations as ages proceed / Volodimir Sosyura [p.213, 8 lines]. Ring out, ring out, full-hearted song / Dmitro Zahul [p.221, 8 lines]. And to that Cossack ballad as they listened / Maxim Rylsky [p.226, 18 lines].

B082. Shakhovs'kyi, Semen. Lesya Ukraïnka: a Biographical Sketch. / Semen Shakhovsky. [Tr. from the Ukrainian by Anatole Bilenko and Victor Ruzhitsky]. Kiev: Dnipro, 1975. 118 p. illus., ports. (Classics of Ukrainian literature).

Contents: Introduction. Formative years. On Wings of Song. Poetry of courage and struggle. Lesya Ukraïnka's revolutionary poetic dramas. Heritage of worldwide import.

Shakhovs'kyi's popularly written biography of Lesia Ukrainka stresses her socialist leanings, her patriotism, her "love of Russian literature", her "friendship with revolutionaries". The following are some quotations to illustrate the author's style and biases: "The most important feature in Lesya Ukraïnka's approach to the developments in literature was that she linked literature with class struggle and with political life." "As a propagandist, publicist and literary critic Lesya Ukraïnka used scientific socialism in her treatment of the social and esthetic theory and in her analysis and interpretations of the literary processes." "The call to win freedom in victorious battle was the leitmotif of Lesya Ukraïnka's poetry. The poetess glorified the qualities of the fighter: patriotism, revolutionary loyalty, hatred of oppressors and belief in inevitable victory." According to Shakhovs'kyi the two striking features of Lesia Ukrainka's later poetry are "extensive use of international topics and motifs and the employment of epic forms of expression." "The uniqueness of Lesya Ukraïnka's dramatic poems", says Shakhovs'kyi, "lies in that she discards precise description of the characters environment, focusing her attention on the views and principles they profess, irrespective of their social status and intellect. What interests her most is their judgements on such categories as social freedom, morals and religion." Lesia Ukrainka, according to the author, considered "Song of the Woods" [Lisova pisnia] and "The Stone Host" [Kaminnyi hospodar] her greatest successes. This is what he himself has to say about the two dramatic works: In "The Stone Host" Lesia Ukrainka "emphasized the social aspect in her drama" and "dwelt on the political issues of her day"; in the "Song of the Woods" "The main concept of the drama is the assertion of a free and happy future. Hence the conflict between the advocates of a natural uninhibited life on the one hand, and of narrow- minded vegetation, on the other."

Among the b/w illustrations in the book are 1890 and 1896 photo-portraits of Lesia Ukrainka, photo of her monument in Kyiv, and photos of Lesia Ukrainka with Ol'ha Kobylians'ka and with Serhiy Merzhinsky.

B083. Shankovsky, Igor. Symonenko: A Study in Semantics. München: Ukrainisches Institut für Bildungspolitik, 1977. 212 p. illus., port.

An English translation of a book published originally in Ukrainian (London: Association of Ukrainians in Great Britain, 1975) under the title Symonenko: semantychna studiia. Parts of the English version have been previously published in periodicals and are included in this bibliography under Articles [for more extensive annotations see A1362, A1363, A1364, A1365, A1366]. The book is illustrated with a portrait of Symonenko, and with photos of Symonenko's books Tysha i hrim, Zemne tiazhinnia, Vyno z troiand, Poezii. The book's cover has a lengthy note about the author (born 1931, with university degrees from the University of Pennsylvania, University of Alberta and Ukrainian Free University in Munich), his note on Symonenko and his photograph. The book is based on the author's Master of Arts thesis at the University of Alberta, even though this fact is not acknowledged anywhere in the book.

Contents: Epitome. Vasyl Symonenko and his background. The diary named "Marges of Thoughts". Thirteen short stories. Two fairy-tales for adults. The poetry of courage and anger. Bibliography. Index. Appendix [original Ukrainian texts of poetry, fairy-tales, short stories and diary entries which are quoted in the author's translation in the body of the book, with a brief English language preface].

The book is interspersed with quotations from Symonenko's poetry, as well as some poems by Borys Oliinyk, Lina Kostenko and Maksym Ryl's'kyi in the author's own translation. The complete poems or longer fragments are as follows: Vasyl Symonenko: In vain she swore to them in tears, denying [p.5]. Roses in mourning: A monologue before the icons (If you, the saints, were not rachitis ridden) [p.44]. The earth's gravity (Oh, my hollow world, millioneyful); [2d version]: (What a world - a fairytale embroidery) [pp.58-59]. Oh, my native land! My brain does lighten; [2d version]: Native land of mine! My brain does lighten [pp.59- 60]. The sun fell to the dusk of an evening [pp.61-62]. Loneliness (Often I am lonely, like the Crusoe) [p.65]. Tsar Lachrymal and the Titillator (Where the valleys meet the mountains) [pp.83-94]. Journey to the country Upside-Down (Lesyk, Tolya, two Volodyas)[pp.95-109]. The granite obelisks, just like medusae [pp.135-136]. The thief (Caught was an oldster, he, somehow was nailed flat) [p.138]. Lost in contemplation, I'm inspired [pp.140-141]. The gate (Sombre gate, in wild, unknown forestalling) [p.143]. To my Kurd brother (Blood covered mountains crying out by calling) [p.144]. By thousands run the roads, a million pathways run in [p.146]. Carry me, my happy feelings, on your speedy wings [p.147]. Necrology for a corn-cob which died at the provisionary stock center (No moaning can be heard. The orchestras are rusting) [pp.147-148]. Borys Oliinyk: Not for children (It's better to die, while standing up) [p.110]. Lina Kostenko: Oh, many souls became in our century. There're all kinds of relay batons. Seedling (A young tree feathered oneself) [pp.123-125]. Maksym Ryl's'kyi: Advice (A clever gardener once said to me) [pp.124-125].

A complete text of Symonenko's short story "A black horseshoe" is included in translation on pp. 70-71.

For identifications of individual titles see Index.

B084. Shevchenko, Taras. Katerina: a poem by Taras Shevchenko translated from the Ukrainian by John Weir. Kiev: Dnipro, 1972. 63 p.

Translation of the long poem Kateryna (Kokhaitesia, chornobryvi) with paralell texts in Ukrainian and English. The first line of the English translation reads "O lovely maidens, fall in love)". The brief note on p.63 describes the poem as a story of "a love betrayed" with "distinct social overtones". The book itself is not illustrated, but the cover has a reproduction of Shevchenko's 1842 oil painting Kateryna in color.

B085. Shevchenko, Taras. Selected Poetry. Illustrated with reproductions of drawings, sketches, outlines, etchings and paintings by Taras Shevchenko. Kiev: Dnipro, 1977. 332 p. illus., ports., part col.

A parallel text edition, richly illustrated with reproductions of Shevchenko's own artistic works, a few self-portraits and some autographs of his poems. The introduction by Yevhen Kirilyuk appears both in Ukrainian and in English. The English text, entitled "The great humanist" is on pp.9-12. Kirilyuk discusses Shevchenko's life and provides some commentaries on his works. He says, among other things: "Taras Shevchenko is the founder of critical realism in Ukrainian literature and the father of the Ukrainian literary language. His legacy played an important role in the development of democratic literature in the Russia of his time." The translations are by John Weir, Irina Zheleznova, Olga Shartse & Gladys Evans, with translators indicated in the texts only. Notes on the poetry appear in both languages, in English on pp.324- 327. Pages 329-333 contain a bilingual list of illustrations.

Contents: Katerina (O lovely maidens, fall in love)/ Tr.J.W. *** (Thoughts of mine, o thoughts of mine) / Tr.I.Z. Perebendya (Old Perebendya, minstrel blind) / Tr. J.W. Haidamaki (All flows and all passes - this goes on forever / Tr.J.W. Hamaliya ("Oh, the winds are mute, the tides do not carry) / Tr. J.W. A dream: a comedy (Each man on earth has his own fate) / Tr. J.W. The Heretic (Bad neighbours came and set afire) / Tr. J.W. The servant woman (Early on a Sabbath day)/ Tr. O.S. The Caucasus (Mighty mountains, row on row, blanketed with cloud) / Tr. J.W. *** (The days go by, the nights go by) / Tr. J.W. My testament (When I am dead, then bury me) / Tr. J.W. The lily ("Why did to me from childhood days) / Tr. J.W. *** (I care not if 'tis in Ukraine) / Tr. I.Z. *** (Beside the hut the cherries are in bloom) / Tr. I.Z. *** (Hard is the captive's lot - aye, even) / Tr. I.Z. The Princess (My evening star, rise in the sky) / Tr. O.S. N.N. (I was thirteen. I herded lambs) / Tr. J.W. *** (Thoughts of mine, thoughts of mine)(1847) / Tr. G.E. The outlaw (Upon my wand'rings far from home) / Tr. O.S. Kings (If, you, Apollo's aged sister) / Tr. I.Z. *** (Thick, torpid waves, skies dull and sightless...) / Tr. I.Z. *** (Young masters, if you only knew) / Tr. J.W. *** (The lights are blazing, music's playing) / Tr. J.W. The half-wit ('Twas in Tsar Sergeant- Major's reign) / Tr. J.W. Fate (You never played me false, o Fate) / Tr. J.W. A dream (Out in the field she laboured, reaping) / Tr. I.Z. *** (I'm not unwell, it's just that I) / Tr. J.W. N.N. (A lily of as tender beauty) / Tr. I.Z. Isaiah, Chapter 35 (Rejoice, o desert, arid wilderness) / Tr. J.W. To my sister (As on the Dnieper shore I wandered) / Tr.I.Z. Mary ( All my hopes I place in thee) / Tr.I.Z. *** (Wine was a potion Galileo) / Tr. I.Z. *** It's not that I'm of God complaining) / Tr. J.W. *** (The days go by, the nights go by) / Tr. I.Z. *** (By a spring a sycamore) / Tr. I.Z.

For identifications of individual translations see Index.

B086. Shevchenko, Taras. Selected Works: Poetry and Prose. [Tr. from the Ukrainian. Designed by V.Y. Pushkaryova]. Moscow: Progress Publishers [©1979]. 533 p. illus., part col. (Progress Classics series).

Contents: A great humanist poet / Yevgeny Kirilyuk [pp.11-17]. Poetry: The bewitched (The Dnieper wept and moaned, a piercing) / Tr. Irina Zheleznova. *** (Thoughts of mine, O thoughts of mine) / Tr. Irina Zheleznova. Perebendya (Old Perebendya, minstrel blind) / Tr. John Weir. Katerina (O lovely maidens, fall in love) / Tr. John Weir. Haidamaki (All flows and all passes - this goes on forever) / Tr. John Weir. Hamaliya ("Oh, the winds are mute, the tides do not carry) / Tr. John Weir. Sorrowful nights (Her plait came undone) / Tr. Irina Zheleznova. A dream (A comedy) (Each man on earth has his own fate) / Tr. John Weir. *** (Don't take yourself a wealthy bride) / Tr. John Weir. The heretic (Bad neighbours came and set afire) / Tr. John Weir. The servant woman (Early on a Sabbath day) / Tr. Olga Shartse. The Caucasus (Mighty mountains, row on row, blanketed with cloud) / Tr. John Weir. To the dead, the living and the unborn countrymen of mine in the Ukraine and outside the Ukraine my friendly message (God's day passes: now 'tis morning) / Tr. Irina Zheleznova. Testament (When I die, pray, bury me) / Tr. John Weir. The lily ("Why did to me from childhood days) / Tr. John Weir. *** (I care not if 'tis in Ukraine) / Tr.Irina Zheleznova. *** ("Stay with your mother, maid," they told you) / Tr. Irina Zheleznova. *** (The sun of spring in lightsome glee) / Tr. Irina Zheleznova. *** (Beside the hut the cherries are in bloom) / Tr. Irina Zheleznova. *** (Hard is a captive's lot - aye, even) / Tr. Irina Zheleznova. The princess (My Evening Star, rise in the sky) / Tr. Olga Shartse. N.N. (Sunset... The mountains lie sombre and shadowed) / Tr. Irina Zheleznova. N.N. (I was thirteen. I hearded lambs) / Tr. John Weir. The monk (Ah, those good old days in Kiev) / Tr. Irina Zheleznova. The outlaw (Upon my wand'rings far from home) / Tr. Olga Shartse. Kings (If you, Apollo's aged sister) / Tr. Irina Zheleznova. *** (Had we two met again, our meeting) / Tr. Irina Zheleznova. Marina (A stabbing nail within the heart) / Tr. Irina Zheleznova. *** (Thick, torpid waves, skies dull and sightless...) / Tr. Irina Zheleznova. *** (Young masters, if you only knew) / Tr. John Weir. The half-wit ('Twas in Tsar Sergeant- Major's reign) / Tr. John Weir. A dream (Out in the field she laboured, reaping) / Tr. Irina Zheleznova. *** (I'm not unwell, it's just that I) / Tr. John Weir. Isaiah, Chapter 35, an imitation (Rejoice, o desert, arid wilderness!) / Tr. John Weir. N.N. (A lily of as tender beauty) / Tr. Irina Zheleznova. *** (Brown eyes have I, and with passion they're blazing) / Tr. Irina Zheleznova. To my sister (As on the Dnieper shore I wandered) / Tr. Irina Zheleznova. *** (At times I hang my head in sorrow) / Tr. Irina Zheleznova. Mary (All of my hopes I place in thee) / Tr. Irina Zheleznova. The hymn of the nuns (Come, O lightning, hasten hither) / Tr. Irina Zheleznova. *** (Speak, my good, my gentle people) / Tr. Irina Zheleznova. To Likera (Beloved mine! My sweet, my friend!) / Tr. Irina Zheleznova. *** (Wine was a potion Galileo) / Tr. Irina Zheleznova. *** (The days go by, the nights go by...) / Tr. Irina Zheleznova. *** (By a spring a sycamore) / Tr. Irina Zheleznova. *** (The time has come, my humble neighbour) / Tr. Irina Zheleznova. Prose: The artist / Tr. John Weir. Diary (excerpts) / Tr. John Weir. Dramatic works: Nazar Stodolya / Tr. Irina Zheleznova. Notes.

Kyryliuk's introduction provides a detailed biography of Shevchenko with a minimum of interpretation or commentary. The numerous illustrations in the book, some in color, include a number of Shevchenko's own paintings and drawings and some Shevchenko portraits. Of special interest are portraits of P.V. Engelhardt, Karl Bryullov, A.E.Kotzebue, A.I. Lagoda, G.I. Zakrevskaya, V.N.Repnina, V.V. Keikuatova, I.M. Soshenko, A. Y.Uskova, I.A. Uskov, M. Shchepkin, Ira Aldridge, M.M. Lazarevsky, M.F.Maximovich, M.A. Maximovich, F.P. Tolstoy, F.A. Bruni, P.K. Klodt, Likera Polusmakova drawn by Shevchenko, Shevchenko self-portraits of 1840, 1843, 1845, 1847, 1849, 1857, 1860, his photograph of 1859 and Karl Bryullov's portrait of the poet Vassily Zhukovsky which bought Shevchenko his freedom.

For identification of individual translations see Index.

B087. Shevchuk, Tetiana. Na prestil maibutnikh dniv = An offering. New York: ADUK, 1978.

This "new, expanded and revised edition" of the Ukrainian/English poetry collection includes the following translations by Tetiana Shevchuk from Ukrainian poets: Oksana Liaturyns'ka: Intercession (Their arms were raised in supplication) (p.66). Lina Kostenko: Good-bye (Good bye love! And have a happy journey!) (p.67). Fortunes (I dreamt I was at a strange bazaar) (pp.68-69) To Kobzaar (Kobzaar of old!) (pp.70-71). The snowstorm (The hands of the clock at the corner) (p.73). Dnieper (The silent moors of emerald) (p.73). Silence (Silence reigns around the headboard) (p.74). Eyes (In my childhood days, I had blue eyes) (p.75). The afterglow (I grew where cherry orchards bloom) (p.76). Bohdan Lepkiy: The snow (Like downy feathers of a swan) (p.77). M.I. Mandryka: Elegy (Oh, why don't you appear sometime) (p.78). Intermission (We grieve for those who pass into 'non-being' (p.79). Olexander Oless: Now there's snow - but spring is coming (pp.80-81). Evhen Malanuk [sic]: Autobiography (I come from the voiceless steppelands) (p.84). Mission (This cup won't pass. It must be emptied) (p.85). Retreat (Those days will never be forgotten) (pp.85-86). Leonid Poltava: Motherhood (From vases of Egypt, amphorae of Greece) (p.87). The cycles (A ploughshare's glint in early morning mist) (pp.87-88). Joy (Fragment) (The states of purest joy can never be expressed) (p.88). Olena Teliha: Life (Ill-omened clang of days to fragments beaten) (p.89). Hidden are both - beginning and the end (p. 69-90). Beyond the forest, in restless sleep (p.90). Valentina Tkachenko: Under the limitless sky (You hurried off as we said good-bye) (p.91). The joy of life (So you do not love me, well, so be it) (pp.91-92). For identifications of individual translations see Index.

B088. Sirka, Josef. The Development of Ukrainian Literature in Czechoslovakia 1945-1975: a survey of social, cultural an [sic] historical aspects. Frankfurt/Main: Peter Lang [©1978]. ix, 198 p. maps. (European university papers, series 16: Slavonic languages and literatures, v.11)

A survey of the literature of the Ukrainian ethnic minority in Eastern Slovakia written by the former Ukrainian journalist from Presov. Literary activity of Ukrainians in Czechoslovakia prior to 1945 had centered around the Transcarpathian region. This region after 1945 became part of Ukraine proper. A considerable number of ethnic Ukrainians, however, remained within Czechoslovakia, especially in the Presov region. "One cannot talk of a continuation of a literary tradition in the period after 1945", says Sirka, "but rather of a beginning of a Ukrainian literary movement." The author provides a survey of literary life which developed around newspapers, journals and annual almanacs published in the Ukrainian language, and especially around the literary journal Duklia which began publication in 1953. "Analyzing the works of the older and younger writers," says Sirka "it is evident today that they reached their highest level in the sixties. The works of Fedir Lazoryk, Eva Biss, Stepan Hostynjak, Myxajlo Drobnjak as well as of some others stepped out beyond the confines of a 'national awakeners' literature and overcame the limits of nationality and territory. This period of creativity did not last long. Stalinism returned in a new guise..." Sirka surveys poetry, prose and drama of the older and younger generation of writers and provides, in addition, a short history of Ukrainians in Czechoslovakia, a chapter "Dependence of literature on social composition: political and economic factors", and an extensive bibliography (pp.150-193) which includes a detailed listing of individual writers and their works with precise bibliographical data [pp.171-184]. The book also has an index of names on pp.194-198.

B089. Skrypnyk, Mary. Lesya Ukrainka: A Heritage for Today and Tomorrow. Toronto: Kobzar, 1971. 35 [i.e. 46] p. illus., ports.

A "spin-off" from the February 1971 issue of the Ukrainian Canadian of materials on Lesia Ukrainka richly illustrated in black and white with 8 portraits of Lesia Ukrainka, as well as portraits of her parents Olena Pchilka (Olha Kosach) and Petro Kosach, of group photos of Lesia with her brother Mykhailo, with Ol'ha Kobylians'ka, with Ukrainian writers Kotsiubyns'kyi, Stefanyk, Staryts'kyi, Samiilenko, Khotkevych, Pchilka, of monuments to Lesia Ukrainka on her grave in Kyiv and in Surami, Georgia, of facsimile reproductions of title pages of her books and illustrations to her work by the artists V. Zaretsky, M. Popovich, I.A. Tikhiy, V. Litvinenko and especially by V.I. Kassian whose 8 full page etchings appear on unnumbered pages at the end of the pamphlet.

Contents: Daughter of Prometheus / Mitch Sago [p.5] Lesya Ukrainka [essay by Mary Skrypnyk, pp.6-18]. Junior UC: On the anniversary of a great poet [p.21]. Lesya Ukrainka: Summer days will come again (Lovely summer days are past). Mother... Wintertime is here ("Mother, wintertime is here). Cherries (The ripe, red cherries, shine and glow). Evening hour (The sun has already rolled down from the sky) [Poetry tr. by Mary Skrypnyk]. Adversity teaches [A short story tr. by Mary Skrypnyk]. On wings of song / Mykola Oliynik. Chronology of important dates in Lesya Ukrainka's life and work. Lesya Ukrainka in etchings by V.I. Kassian.

Mitch Sago's introduction is from his editorial in the February 1971 issue of the Ukrainian Canadian. Mary Skrypnyk in her essay on Lesia Ukrainka quotes excerpts from the poet's letters to underscore the contrast between the fragile woman suffering from a debilitating illness and her optimistic and vigorous poetry. Skrypnyk stresses the social- humanitarian theme in Lesia Ukrainka's poetry, her "vigorous cry on behalf of the downtrodden and oppressed", her glorification of the revolutionary struggle. Despite Skrypnyk's statement that "it is in her dramatic works that her greatest talent is revealed", Lesia Ukrainka's dramas are discussed in one paragraph only, while more attention is given to the poet's translations from foreign literatures and to translations of her own work into English. Mykola Oliinyk's "On wings of song" is an article about Lesia Ukrainka's interest in music and her involvement in the ethnographic work of collecting Ukrainian folk songs.

Skrypnyk's essay is interspersed with quotations from Lesia Ukrainka's poetry in the author's translation, the longer of which are as follows: On an anniversary (Time and again Ukraine has seen) [8 lines, p.8]. My path (Whenever my eyes I raise to the heavens) [6 lines, p.9]. I long to go out into an open meadow (4 lines, p.9]. Oh my people, my poor unhappy family [4 lines, p.9]. One clearly sees its walls, its vaults, its arches [5 lines, p.9]. My brothers, descendants of Prometheus [9 lines, p.10]. Hope (Ill fortune and bondage are all that I own) [10 lines, p.10]. I give due honour to the titan Prometheus [9 lines, p.10]. Maybe life would be far less unhappy [11 lines, p.11]. An ancient tale (The peasant's hut is dark and damp). We came into the suburbs. Gloomy [17 lines, p.12]. You will create for yourselves such a song [5 lines, p.13]. Oh human sea, you powerful human tide [4 lines, p.13]. O word, why aren't you like tempered steel [4 lines, p.13]. Contra spem spero (Away, dark thoughts, you dark mists of autumn) [28 lines, p.14].

For identifications of individual titles see Index.

B090. Slavutych, Yar. The Conquerors of the Prairies. Tr. into English by R.H. Morrison. Edmonton: Slavuta Publishers, 1974. 112 p. port.

Poems. Parallel Ukrainian-English ed. The added Ukrainian title page marks this as the second enlarged edition of the author's Zavoiovnyky prerii, with an English translation. A bilingual foreword expresses publisher's acknowledgement of financial assistance. The collection includes one poem translated by Zoria Orionna, as indicated, and one Ukrainian poem without a parallel text in English.

Contents of English translations: The conquerors of the prairies (Not Corteses from some long-bygone day). Sorrow (No cuckoo's heard, no nightingale is found). Atavistic (Smoke from the black roots drifts towards the skies). Ploughmen (The axes and the spades, the ploughs and hoes). Palms to the handles of the plough. Boat upon water, plough in field. Here headless skeletons, bleached white. The stallion (What heartbreak, frenzied and insane). The three (The haze has fallen on the glen) / Tr. by Zoria Orionna. The inheritance (The grain's and tilled earth's songs ascend). The west's brown hue. The keen scythe hunts, athirst for prey. The old men (They sit there lost in thought, omniscient). The cottage (I stopped the auto and I went inside). This land that has been conquered by the plough. Saskatchewan girl (I met you there among blue-flowering trees). Not these will be forgotten soon. With sight of the Ukrainian folk made strong. Stand on the firm black soil, and soon a warm. Alberta (The greenish prairies black blood moves firm ground. Jubilee (The ceaseless flame of my self-immolation). Polar sonnets: Thus was Cree prophecy fulfilled: on wigwams. Shevchenko in Winnipeg (His forehead's like the sun! From under those). In memory of Wadym Dobrolige (Art's dedicated one, Wadym, goodbye). Like schools of bluish whales in onward rush. Primeval forest, like totemic bird. Winter's a sculptor. And the bluish snow. The house I live in is concealed in snow. Northern lights: White serpents on the slopes, the slithery. Low, leafless, dead are the surrounding trees. Hungry coyotes' whining. Like brontosaurus egg discovered in. A yellowish sun was shining. Embracing with ill-boding greed. Falling snow (I. Falling and falling of snow. II. Falling and falling of snow. III. Falling and falling of snow). To bondage goes the storm of snow. White distance - like a coffin. Dry. White whirl (I. O white whirlwind, O tempest of whiteness. II. Strong wind from unconcerned skies. III. With the whip of Alaska). Beyond far Athabasca snow mounds rise. Where heavy snows'. Wild lamentation. The green-clad distances of Yukon, the. Northern lights (Oh how I love to stand admiring you). In their abundance others came and went. The girl's held in the ocean's embrace. I dreamt of polar bears that in their lair. Deeper each year the wrinkles grow.

For identifications of individual poems see Index.

B091. Slovo o polku Ihorevim. The Tale of the Campaign of Igor. A Russian epic poem of the twelfth century. Translated by Robert C. Howes. New York: W.W. Norton, c1973. vii, 62 p. maps.

Contents: Acknowledgments. Maps. Introduction: The story of Igor's campaign. Comments on the poem. Nature and religion in the poem. Patriotism and the hero in the poem. The text of the poem [pp.1-26]. The Tale of the Campaign of Igor [Text in translation, with footnotes, pp.29-52]. Prince Igor's campaign as related in the Ipat'yevskaya Chronicle [p.53- 62]. Genealogy of Russian princes who figure in the poem [unnumbered pages]. Selected bibliography [unnumbered page].

The introduction provides some historical background for the events described in Slovo o polku Ihorevim, analyzes each section of the poem as well as the metaphors involving animals, birds and natural phenomena, discusses pagan and Christian beliefs in the poem and its patriotic themes, and provides a history of the original manuscript's discovery and its subsequent loss by fire. In commenting on the debate about the authenticity of Slovo, Howes says: "Whatever the truth may be, there is no doubt that the Tale of the Campaign of Igor is one of the great masterpieces of world literature and that it fairly breathes the spirit of Kievan Rus'."

B092. Slovo o polku Ihorevim. The Song of Prince Igor: Russia's great medieval epic. Translation, introduction and commentary by Robert Mann. Eugene, OR: Vernyhora Press, ©1979. 70 p. map.

Contents: Preface. Map. Introduction [p.1-5]. Note on the translation. The Song of Prince Igor [text in translation, pp.11-26]. Commentary [pp.27-62]. Glossary of names [pp.63-68]. Selected bibliography [pp.69-70].

Robert Mann makes the following statement in the preface: "This book is intended to provide an accurate, readable translation of The Song of Prince Igor with a commentary explaining the background of the tale in history and folklore. The commentary summarizes the results of my recent research, which has revealed numerous previously unknown ties between The Song of Prince Igor and Russian folklore, including the use of wedding imagery to portray battles throughout the tale. Specialists in Old Russian history and literature should consult my more detailed study entitled Lances Sing: The Old Russian Igor Tale."

B093. Stefanyk, Vasyl'. The Stone Cross. Tr. from the Ukrainian by Joseph Wiznuk in collaboration with C.H. Andrusyshen. [Toronto: Published for the Stefanyk Centennial Committee by McClelland & Stewart, ©1971]. 164 p. port.

Contents: Acknowledgements. Preface. The life and work of Vasyl Stefanyk (1871-1936) / C.H. Andrusyshen. [pp.4-19]. The stone cross. The recruit's farewell. In a tavern. Mother's little son. The master builder. The pious woman / Tr.C.H.A. Loss / Tr. C.H.A. Big news / Tr.C.H.A. The council meeting. Children / Tr. C.H.A. The signature. Days gone by. May / Tr. C.H.A. The arsonist / Tr. C.H.A. Maple leaves. The dream. The Basarabs. The thief. My word. The trial. Mother Earth. Maria. Children's adventure / Tr. C.H.A. The baby-watcher / Tr. C.H.A. The sons. Grandpa Hritz. The thread. An ancient melody. The boundary line. Sin / Tr. C.H.A. The dew. The schoolboy / Tr. C.H.A.

Translations of the following stories: Kaminnyi khrest. Vyvodyly z sela U korchmi. Mamyn synok. Maister. Pobozhna. Shkoda. Novyna. Zasidannia Dity. Pidpys. Davnyna Mai. Palii. Klenovi lystky. Son. Basaraby. Zlodii. Moie slovo. Sud. Vona - zemlia. Mariia. Dytiacha pryhoda. Pistunka. Syny. Did Hryts' Nytka. Brattia (Davnia melodiia). Mezha. Hrikh. Rosa. Shkil'nyk.

Ten of the translations, where indicated, were done independently by C. H. Andrusyshen. The preface stresses the difficulties and peculiarities of the translating process and states that "Vasyl Stefanyk's style is so exceptional that at times it is impossible to translate him into another language." Andrusyshen's introductory article concentrates on Stefanyk's biography. In characterizing Stefanyk's work, Andrusyshen says: "The main feature of Stefanyk's style is its laconism... Each word, each phrase of his seems to equal an ample sentence, and a few paragraphs - an extensive tale. In most cases, it is not a story that is rendered but a concentrated episode from the life of a person. This procedure effects an enormous economy in the depiction of settings and characters, all of which are implied in the manner in which the author composes his monologues and dialogues." Stefanyk's "lyrical impressionism", says Andrusyshen, "occasionally lapsed into expressionism" "verging on hyperbole" and "It is for that reason that he is so difficlut to translate into other languages." As to the writer's subject matter, Andrusyshen considers Stefanyk a phenomenon in Ukrainian and world literature whose works are "a mighty outcry of trenchant protest against nature's malevolence and man's inhumanity to man".

B094. Stel'makh, Mykhailo. Let the Blood of Man Not Flow. / Mikhailo Stelmakh. [Tr. from the Russian by Eve Manning and Olga Shartse]. 2nd rev. ed. Moscow: Progress Publishers [1968]. 364 p. (Soviet novels series).

Translation of the novel Krov liuds'ka - ne vodytsia, with an introduction entitled "Poetic prose" by Yuri Lukin [pp.3-9]. Lukin provides some biographical data about the author and some brief characteristics of his works. Says Lukin about Stel'makh and his novel: "The title itself - Let the Blood of Man Not Flow - speaks of the novel's humanist essence. The profound philosophical insight which Mikhailo Stelmakh reveals in all his books allows him to convey through the pattern of his imagery the active nature of revolutionary humanism which professes ideals of struggle for man, in the name of man, against the enemies of all that is truly human. The story tells of a turbulent time - the year 1920 - in the history of the Ukraine. The plot centres [sic] round the allotment of land to the peasants, but the purport of the novel is much broader. It is a novel about the cruel conflicts and contradictions of the epoch and the changes they wrought in men's mentality."

This indirect translation of Stel'makh's novel was first issued in 1962, with a different introduction. [cf.ULE: Books and Pamphlets. 1890-1965. B77].

See also B095.

B095. Stel'makh, Mykhailo. Let the Blood of Man Not Flow. / Mikhailo Stelmakh. [Tr. by Eve Manning and Olga Shartse. Illustrated by Sergei Adamovich]. Moscow: Progress Publ. [First printing: 1962, 2nd rev.ed. 1968. 3rd printing 1975]. 271 p. illus. (8 full page). (Progress Soviet authors library).

Translation of the novel Krov liuds'ka - ne vodytsia, with an introduction entitled "Poetic prose" by Yuri Lukin (pp.5-10). Lukin's essay provides some biographical data about Stel'makh and a critical discussion of his works. Let the Blood of Man Not Flow (which is part of a trilogy, the other two novels being Velyka ridnia (A Big Family) and Khlib i sil' (Bread and Salt), is characterized as "a novel of the stormy events of the year 1920 in the Ukraine: of the allotment of land to the peasants and of the joy of working that land. At the same time this is a novel of the experience of our age and of its conflicts and contradictions". "As one reads Stelmakh", says Lukin, " it often seems that one is hearing the story rather than reading it, so clear are the voices of the earth and of human hearts, of poetry, folk songs, tales and the author himself, and all these different voices are blended into one whole as in a piece of music." This indirect translation (from the Russian) of Stel'makh's novel was first issued in 1962, with a different introduction. [cf.ULE: Books and Pamphlets. 1890-1965. B77]. See also B094.

B096. Stories of the Soviet Ukraine. Moscow: Progress Publishers, 1970. 303 p.

Contents: Introduction / Vitaly Korotich [pp.5-10]. Alexander Dovzhenko: The enchanted Desna. A will to live. Andrei Golovko: The red kerchief. Oles Gonchar: Sunflowers. A man in the steppe. Yevgen Gutsalo: Bathed in lovage. In the fields. Roman Ivanichuk: No claim to kinship. The teddy bear. Ivan Lye: A man of strong will. Petro Panch: Tikhon's letter. Leonid Pervomaisky: The story of mankind. Ivan Senchenko: One's native land. Alexander Sizonenko. The old man. Mikhail Stelmakh: New Year's eve. Mikhailo Tomchanii: The stork. Grigor Tiutiunnik: The first blossom. Spring mint. Ostap Vishnya: Open season. The bear. Yuri Yanovsky: A question of dynasty. Yuri Zbanatsky: The storm. Semyon Zhurakhovich: The hundredth day of the war. The sinner and the righteous woman. Pavlo Zagrebelny: The teacher. Biographical notes: Alexander Dovzhenko (1894-1965) [pp.293-294]. Andrei Golovko (b. 1897) [p.294]. Oles Gonchar (b.1918) [pp.294-295]. Yevgen Gutsalo (b.1937) [p.295]. Roman Ivanichuck [sic] (b.1929) [p.296]. Ivan Lye (b.1895) [pp.296-297]. Petro Panch (b.1891) [p.297]. Leonid Pervomaisky (b.1908) [pp.297-298]. Ivan Senchenko (b.1901) [p.298]. Alexander Sizonenko (b.1923) [p.299]. Mikhail Stelmakh (b.1912) [pp.299-300]. Mikhailo Tomchanii (b.1914) [p.300]. Grigor Tiutiunnik (b.1931) [pp.300-301]. Ostap Vishnya (1889-1956) [pp.301-302]. Yuri Yanovsky (1902-1954) [p.302]. Yuri Zbanatsky (b.1914) [pp.302-303]. Semyon Zhurakhovich (b.1907) [p.303]. Pavlo Zagrebelny (b.1924) [p.304].

The short stories are translated into English indirectly from the Russian translations, and names of authors are given as transliterated from Russian. Translators are not indicated. Vitalii Korotych in his introduction gives a background of Ukrainian literature and a description of the book's contents. "...creative affinity does not mean creative monotony," says Korotych, "and writers who hold the same beliefs have very distinct ways of putting their thoughts and ideas into words."

The collection includes the following short stories: Oleksandr Dovzhenko: Zacharovana Desna. Volia do zhyttia. Andrii Holovko: Chervona khustyna. Oles Honchar: Soniashnyky. Liudyna v stepu. Ievhen Hutsalo: Skupana v liubystku. U zhytakh. Roman Ivanychuk: Chuzhyi onuk. Pliushevyi vedmedyk. Ivan Le: Tverdyi kharakter. Petro Panch: Tykhoniv lyst. Leonid Pervomais'kyi: Istoriia liudstva. Ivan Senchenko: Ridnyi donets'kyi krai. Oleksandr Syzonenko: Kavuny. Vatah. Mykhailo Stel'makh: Shchedryi vechir. Mykhailo Tomchanii: Chornohuz. Hryhir Tiutiunnyk: Zaviaz'. Kholodna miata. Ostap Vyshnia: Vidkryttia okhoty. Vedmid'. Iurii Ianovs'kyi: Dynastychne pytannia. Iurii Zbanats'kyi: Mors'ka chaika. Semen Zhurakhovych: Buv sotyi den' viiny. [Unidentified]. Pavlo Zahrebel'nyi: Uchytel'.

B097. Struk, Danylo. A Study of Vasyl' Stefanyk: the Pain at the Heart of Existence. / D.S. Struk. With foreword by G.S.N. Luckyj. Littleton, CO: Ukrainian Academic Press, 1973. 200 p.

Contents: Foreword / George S.N. Luckyj. [pp.7-8]. Introduction. Ch.I. From writer to politician to gazda: 1871 to 1905; 1905 to 1916; 1916 to 1936. Ch.II.: Critical approaches to Stefanyk. Ch.III.: Definition of genre: Novella in general. Features of Stefanyk's novella. Ch.IV.: Structure of Stefanyk's novella. Ch.V.: The pain at the heart of existence. Conclusion. Appendix: Novellas in translation: Loss. A stone cross. Suicide. Sons. Children's adventure. All alone. The agony. The thief. Sin. Les' family. News. Mother. The pious woman. Bibliography. Index.

Luckyj characterizes Struk's study as one which "attempts to get to the core of Stefanyk's art" by rejecting "the standard ideological interpretations of his work" and trying "to access Stefanyk as a craftsman and artist".

According to Struk, Stefanyk's interest as a writer "lay primarily in an artistic portrayal of human anguish. And although the anguish often resulted directly or indirectly from adverse economic and social conditions, Stefanyk's artistic eye focused not on these conditions, nor on their amelioration, but on the profound, often devastating, psychological dramas in the lives of his heroes. Although these heroes were for the most part common peasants from his native Pokuttya, in the depiction of their anguish Stefanyk managed to portray the universal pain that lies at the heart of existence." The author provides a detailed biography of Stefanyk, discusses at length and takes issue with the various (socio-economic, universal, formalistic, nationalistic) critical approaches to Stefanyk's work, analyzes the structure and subject matter of Stefanyk's novellas. Each chapter of the study is supplemented with bibliographical notes; there is, in addition, a separate bibliography on pp.189-196. Thirteen Stefanyk novellas in Struk's translations are presented in the Appendix as illustrations. The translated short stories are: Shkoda. Kaminnyi khrest. Stratyvsia. Syny. Dytiacha pryhoda. Sama samis'ka. Skin. Zlodii. Hrikh. Leseva familiia. Novyna. Maty. Pobozhna.

B098. Sverstiuk, Ievhen. Clandestine Essays. Translation and an introd. by George S.N. Luckyj. Cambridge, MA: Ukrainian Academic Press for the Harvard Ukrainian Research Institute, 1976. 100 p. (Harvard Ukrainian Research Institute. Monograph series).

Contents: Introduction [pp.7-16]. A cathedral in scaffolding [pp.17-68]. Ivan Kotliarevs'kyi is laughing [pp.69-96]. Final plea before the court (Late March 1973) [pp.97- 100].

Luckyj's introduction, parts of which have been published previously in Problems of Communism (cf.A903) and in Slavic Review (cf.A904), discusses intellectual dissent in Soviet Ukraine in the 1960's and the role in this dissent of Ievhen Sverstiuk (born 1928) who became "a leading literary critic in the 1950's". Early in 1972 Sverstiuk was arrested and in March 1973, according to Luckyj, was sentenced to seven years in a concentration camp and five years of exile."

The three essays included in this book, says Luckyj, were never published in Soviet Ukraine, but "enjoyed wide clandestine circulation." The first of these is a translation of "Sobor u ryshtovanni", an essay discussing the problems raised in Oles' Honchar's controversial novel Sobor (first published in 1968) - i.e. the need for spiritual and moral values, for historical roots, for the preservation of natural resources, etc. The second is a translation of "Ivan Kotliarevs'kyi smiiet'sia", an essay about the role and influence of Ivan Kotliarevs'kyi in Ukrainian literature. "Kotliarevs'kyi's spontaneous feeling of Ukrainian patriotism became more and more conscious and clear," says Svestiuk. In the course of writing of Eneida, "elegiac and heroic notes appear and the band of Trojans becomes more and more transformed into the Zaporozhian Host." According to Sverstiuk, Kotliarevs'kyi's "humor and his satire occur on that thin borderline between concealed teasing and serious social allegory.... Only great writers have this feeling for measure and tact." "Final plea before the court" is, apparently, Sverstiuk's speech at his own trial in March of 1973, but is not identified in greater detail.

B099. Symonenko, Vasyl'. Granite Obelisks. Selected, translated and annotated by Andriy M. Fr.-Chirovsky. Jersey City, N.J.: Svoboda, [1975]. 143 p. illus., port.

A parallel text Ukrainian-English edition of Symonenko's poetry and prose. Illustrations and cover design are by Motrya Chodnowska. The portrait-drawing of V. Symonenko is by Edwin Havas. A full-page bio-bibliographical note about Vasyl' Symonenko appears on p. 141 and characterizes the poet as "the man responsible for the national re-awakening of Ukraine in the 1960's-1970's..." There are briefer notes about the translator (Andriy Maria Freishyn-Chirovsky) and the illustrator (Motrya Chodnowska) on pp. 142 and 143 respectively. The translator's introduction [pp.13-17] speaks of Symonenko's verse as "poetry of war and vengeance, of dignity and freedom, of power and heroism" and of the poet himself as a man "scorned, rejected, and lonely to the very depths of his existence."

Contents: Translator's note / Andriy M. Freishyn-Chirovsky. [p.12]. The solitude: Symonenko alone / Andriy M. Freishyn-Chirovsky [pp.13-17]. Poetry: Granite obelisks (Granite obelisks - medusas). The flight (I flee from myself, from the torment and fatigue). The old man is dead (That is all). "Where are you now, oh torturers of nations?" (Where are you now, oh torturers of nations?) Necrology for an ear of corn that moldered by the depot (You hear no dirge, the orchestra is rusty). Arboreal (I feel them in the nights of fall). Filial (I peer intently in your eyes). Solitude (Like Crusoe, I'm often alone and thinking). Chorus of elders from the epic "Fiction" (By nature our species is sagacious). Baba Onysia (Baba Onysia once had three sons). The swans of motherhood (Dreamingly they float from out the misty foggage). You're a person (You know that you're a person). Monarchs (Emperors, rulers, kings, and dictators). We think of you (We think of you. Through the quiet nights of summer). Maybe that's the way (Maybe that's the way that it should be). The trial (The paragraphs were seated at the table). A pondrance (They celebrate). The letter (I just received my mother's letter). Advice for tyrants (No matter how you twist it). From my window (The winged coalmouse struck the window). Optica (The ugliest eyes are hallow). You can hate me (You can hate and abhor and loathe me). I (He looked at me as if I had no worth). Autumnal dissonance (The sky, churned up and disheveled). Paradoxica (People often survive after dying). Don't mock me please (Don't mock me please, just this I ask). Prose: The black horseshoe. The wedding of Opanas Krokva. Elegy for a grandfather. He kept her from sleeping. The roosters crowed on the embroidery... The edges of thought.

For identifications of individual titles see Index.

B100. Tarnawsky, Yuriy. Os', iak ia vyduzhuiu = This Is How I Get Well. / Iurii Tarnavs'kyi = Yuriy Tarnawsky. Introd. by Vitalij Keis. [n.p.]: Suchasnist, 1978. 127 p. (Biblioteka Prolohu i Suchasnosty, ch. 132).

A bilingual collection of poetry with English and Ukrainian texts on parallel pages. The introduction, however, appears in Ukrainian only [pp.5-15]. According to Keis, the poems were written originally in English and were then transformed (rather than translated) into Ukrainian by the author. A brief bio-bibliographical note in English and Ukrainian printed on p.127 characterizes the author as a bilingual writer who writes poetry and prose both in Ukrainian and in English.

Contents: Lump of glass (For my thirty-eighth birthday) [= Bryla skla (Na moï trydtsiat' vos'mi urodyny)]. Chicago O'Hare (Sunday afternoon on the plane, waiting)[= Chikago O'Her (Nedilia popoludni, ia na litaku, chekaiu)]. Love (Three weeks)[= Kokhannia (Try tyzhni)]. End of the world (Have driven) [= Kinets' svitu (Pereïkhav)]. Groundhog (Standing) [= Borsuk (Stoiu)]. Concrete wall (Every year) [= Beton (Kozhnoho)]. Phone call (Why am I waiting)[= Telefon (Chomu ia tak)]. AAA (I met you) [= AAA (Ia zustriv tebe)]. Portrait (On the blank) [= Portret (Na chystim)]. Thief (I woke) [= Zlodii (Ia pro-)]. Home (I walk) [= Vdoma (Ia prykhodzhu)]. Dream (We go)[= Son (My zasynaiemo)]. Rain (Music) [= Doshch (Muzyka)]. News (Nothing) [= Novyna (Pid chas)]. Night (The world) [= Nich (Svit)]. Cage (It has finally) [= Klitka (Nareshti)]. Bar (I came) [= Bar (Ia oprytomniv)]. Amnesia (Sweaty-) [= Vtrata pam'iati (Z mokrym vid potu)]. Despair (The worst thing) [= Rozpuka (Naihirshe)]. Office (I walk)[= Biuro (Ia vkhodzhu)]. Birds (I run out) [= Ptakhy (Ia vybihaiu)]. Rag (Oh, if someone) [= Hanchirka (O, shchob)]. Secret (When) [= Taina (Koly)]. Branch (You're) [= Hilka (Ty)]. Pictures (Even) [= Kartyny (Zdaiet'sia)]. Lodger (Night) [= Spivmeshkanets' (Znovu)]. Bee (I wanted) [= Bdzhola (Ia khotiv)]. Mathematics (I hope) [= Matematyka (Ne dai)]. Spring (The earth) [= Vesna (Zemlia)]. Happiness (No one) [= Shchastia (Dovkruhy)]. Foreign language (Something) [= Chuzha mova (Shchos')]. Lost (Feeling) [= Zabludzhenyi (Ia)]. Giacometti (There comes)[= Dzhakometti (Prykhodyt' chas)]. Caravans (Tears) [= Karavany (Sl'ozy)]. Truths (At a quarter) [= Pravdy (O try)]. Hotel room (From this)[= Kimnata v hoteli (Iz tsioho)]. Hole (Accidentally) [= Dira (Prypadkovo)]. Fishhook (Like a fish) [= Hachok (Iak ryba)]. Rain (The rain)[= Doshch (Doshch)]. Door (One day) [= Dveri (Kolys')]. Garden (All afternoon) [= Sad (Tsilyi vechir)]. Dream (The dream) [= Son (Son)]. Pen (The pen) [= Pero (Pero)]. Thunder (Don't speak) [= Hrim (Ne hovory)]. Lamp (You don't) [= Liampa (Ne treba)]. Acquaintance (How) [= Znaiomyi (Zvidky)]. Darkness (As I) [= Pit'ma (Vykliuchyvshy)]. Acceptance (Sooner) [= Pohodzhennia (Skorishe)]. Toy (Maybe) [= Ihrashka (Mozhe)]. Wistaria (It has finally) [= Hlitsyniia (Nareshti)]. Angels (Going)[= Ianholy (Kladuchys')]. Helicopter (Seen) [= Helikopter (Bacheni)]. Waking up (Waking up) [= Probudzhennia (Ia budzhusia)]. Possessions (As everyone) [= Klunky (Iak vsi)]. Shevchenko (Having) [= Shevchenko (Vernuvshys')]. Machines (Although) [= Mashyny (Khoch my)]. Friend (Losing) [= Druh (Tratiachy)]. Butcher (Loving) [= Riznyk (Kokhaiuchy)]. Appendix: Two thematically related poems [= Dodatok: Dva tematychno sporidneni virshi: [Poetry in prose]: The desserts [sic] of love: 1. The girl with the lavender breasts. 2. The woman with the twisted mind. [= Les desserts [sic] de l'amour. 1. Divchyna z buzkovymy hrud'my. 2. Zhinka z vyvykhnenym mozkom. When the poet Pablo Neruda is dead (You are dead, Pablo)[= Koly poeta Pablia Nerudy vzhe nemaie mizh namy (Tebe vzhe nemaie mizh namy, Pabl'o)].

B101. Telesik. Ukrainian folk tale. Tr. from the Ukrainian by John Weir. Illustrated by Nina Denisova. Kiev: Mistetstvo, 1969. 11 p. col. illus. (6 full page).

Translation of Ivasyk Telesyk. A note "To the young reader" on the back cover has some information about Ukraine - "one of the 15 equal and free republics within the Union of Soviet Socialist Republics".

B102. Teliha, Olena. Boundaries of Flame: a complete collection of poetry. Comp. and translated by Orysia Prokopiw. Baltimore: Smoloskyp, ©1977. 134 p. illus., port.

Contents: Editor's note (pp.9-10) / O.P. Tenderness in strength: a critical approach to the poetry of Olena Teliha / Yuri Myskiw (pp.11-15). Olena Teliha: her life, her poetry, her style / Orysia Prokopiw. Boundaries of flame: An evening song (Beyond the panes the day is cooling). Eternal (Love palpitates within the flowered flowers). *** (Just anything but this! Not these calm days). *** (To wave a hand! To spill the wine!). To my contemporaries ((No need for words! Let there be only action!). To men (The word will not be fired as tempered steel). A reply (Oh yes, I know, 'tis not befitting us). *** (The night was tempestuous and dark). *** (My keen eyes are not closed in darkness). Without name (Not love, not whim, not adventure). The traveller (I. You will rest and again leave as always, II. A wondrous bliss burns low, to ashes turning, III. Oh, why is this, my heart with mallet pounding). *** (My soul still after a dark potion). 1933-1939 (They are unknown - beginning and the end). Immortal (The light of lanterns fell upon). On the eve (I. When, spirited and gentle, you appear, II. Fight on and seek! This often I beseech). The fifteenth autumn (Could it have been the evening's opaque blue). A sunny memory (I. My dismal day has tottered and departed, II. A July day in yellowy redness, III. And now where do you ramble, muse, and laugh). Life (Foreboding clang of days that to their fragments fight). *** (Today my every step would like to be a waltz step). Tango (Once more are blended in one delusion). Kozachok (Every step - a blinding flash of lightning). Joy (I don't know the reason for this urging). Of spring (The jasmine shrubs are in blossom). Summer (My feet are merrily and nimbly trampling). The black square (I. This appears in the night, when the mind, slightly weary. II. Gray rabble, louring rabble. III. Now a masculine touch my hands know). To the condemned (How could we go on living, laughing and breathing?) Foreign spring (Somewhere, really not far, eyes are blinded by light. II. The still day (A magnificent calm, not a worry). III. The flaming day (Just as though a flame the clear day flashes). Abroad (In the express train, bright and sparkling). The memory most dear (When the evening descends on the city). Devotion (From sun of holidays and weekday storms). To my husband (On the sills the geraniums lie barren). *** (The victor's gauntlet was not meant for me). The fifth floor (Emigré) (Yes, tomorrow morning, that same song incessant). The unique holiday (A blazing day - the rye is almost ripe). A letter (You'd be surprised: the night is late, it's raining). The homecoming (It shall be thus: one crystal day in autumn). Bibliography. Contents. Zmist.

This is a parallel text edition: Ukrainian originals appear side by side with the translations. Pp.33-34 contain a brief note in memory of Olena Teliha in Ukrainian by Stefaniia Savchuk, former head of World Federation of Ukrainian Women's Organizations. Orysia Prokopiw in her introduction provides biographical data about the poet (born in St. Petersburg on 27 July 1907; perished at the hands of the Gestapo in Kyiv on 13 February 1942) and discusses the themes and style of her poetry, calling attention to Teliha's "most interesting and vital theme" - "her concept of the emancipation of women." Myskiw says the following about Olena Teliha: "Her poetry celebrates the positive, vivid aspects of life. If negative obstacles arise, Teliha recognizes that there is something in human existence which will change that condition. Much of her poetry is concerned with the contrast of opposite polarities: life and death, order and chaos, happiness and sorrow, triumph and defeat. In her sensitized world-view opposites clash, unite and find harmony." There is a full-page b/w portrait of Olena Teliha as a frontispiece and a photo of Babyn Yar memorial erected in 1976. (Olena Teliha is believed to have perished at Babyn Iar).

For identifications of individual poems see Index.

B103. Tusya and the Pot of Gold. From an old Ukrainian folktale retold and illustrated by Yaroslava. New York: Atheneum, 1971. unpaged [i.e. 28 p.] illus., part col.

Includes, in addition to black and white drawings, six full page plates in color.

B104. Tvorchist' Iara Slavutycha. Statti i retsenzii. Upor. Volodymyr Zhyla. Edmonton: Vyd. Iuvileinoho komitetu, 1978. 431 p.

The book of collected articles and reviews discussing the work of Yar Slavutych contains a number of items in the English language. The following is a list of English language materials included: "Yar Slavutych: a spiritual aristocrat" / Wolodymyr T. Zyla [pp.173-184]. "In search of the inspiring past" / Dan B. Chopyk [pp.185-195]. "Ukrainian poetry in Canada: Yar Slavutych" / Zonia Keywan [pp.196-199]. "Yar Slavutych as a translator of Shakespeare's sonnets" / Orysia Prokopiw [pp.200-206]. Zyla surveys critically and in considerable detail all of Slavutych's books and concludes that his writings "have already secured for him a place in Ukrainian literature and in world literature..." Chopyk places Slavutych's books in the framework of the poet's life and says: "Yar Slavutych continues the tradition of the Kievan neo- classicists in Ukrainian literature, but he has elements of Expressionism and Baroque as well. He is precise with form, clear in rhythm, meticulous in rhyme, and rich in sonorous vocabulary." Keywan's article is an extended review of The Conquerors of the Prairies, a book of Slavutych's poetry in English translations. Prokopiw analyzes Slavutych's translations of four Shakespeare's sonnets (sonnets XVIII, XLVI, LXXI and CLIV). Reprinted reviews of Slavutych's poetry collections: Trofei: W.T. Zyla [Ukrainian Quarterly (1966)] [pp.271-272]. Zavoiovnyky prerii: W.T. Zyla [Books Abroad (1969)] [p.272]. The Conquerors of the Prairies: Dan B. Chopyk [Books Abroad (1975) [p.297]. C.H. Andrusyshen [University of Toronto Quarterly (1976)] [pp.297- 298]. Victor O. Buyniak [Canadian Ethnic Studies (1976) [p.306]. Mudroshchi mandriv: C.H.Andrusyshen [University of Toronto Quarterly (1973) [p.308]. Dan B. Chopyk [Books Abroad (1973)][p.312]. Watson Kirkconnell [excerpts from various reviews of this and other books from University of Toronto Quarterly (1961-1964) [pp.329-330]. The Muse in Prison: E.Leigh Mudge (Carmel Pine Cone-Cymbal (1956); Ukrainian Weekly (1956) [pp.341-342]. Enid Daniel Jones (American Bard (1957) [pp.342-343]. J.B. Rudnyckyj [Slavic and East European Journal (1957) [pp.344-345]. Volodymyr Derzhavyn [Ukrainian Review (1956)] [pp.345-347]. John Keats: Vybrani poezii: Roman V. Kuchar [America (1961)] [p.348]. Oasis: Bohdan Rubchak [Scope (1959)] [pp.355-357]. Clarence A. Manning [Ukrainian Weekly (1959) [p.357]. Volodymyr Derzhavyn [Ukrainian Review (1960)] [pp.357-358]. Roman V. Kuchar [Ukrainian Record (1960); American Slavic and East European Review (1961) [pp.358-359].

B105. Ukrainian Dumy. Editio Minor. Original texts. Translations by George Tarnawsky and Patricia Kilina. Introd. by Natalie K. Moyle. Toronto, Cambridge, MA.: Canadian Institute of Ukrainian Studies and Harvard Ukrainian Research Institute, 1979. 219 p.

Cover design by Ihor Kordiuk.

Contents: Editorial note. Translators' foreword / Patricia Kilina, George Tarnawsky [pp.5-7]. Ukrainian Dumy - introduction / Natalie Kononenko-Moyle [pp.8- 21]. Duma about the lament of the captives (On the holy day of Sunday, it wasn't the grey eagles screaming). Duma about the lament of a captive (A poor captive sent his greetings). Duma about Ivan Bohuslavets (In the city of Kozlov there stood a prison of stone). Duma about Marusia from Bohuslav (On the Black Sea). Duma about the falcon and the falcon-child (Very early on Sunday morning). Duma about Samiilo Kishka (From the city of Trebizond a galley came sailing forth). Duma about Oleksii Popovych from Pyriatyn. Duma about the storm on the Black Sea (On the Black Sea). Duma about a conversation between the Dnieper and the Danube (The Dnieper asks the quiet Danube). Duma about the flight of three brothers from the city of Azov (Oh, it was not dust swirling). Duma about the three brothers of Samarka (By the river Samarka). Duma about the death of a Cossack in the Kodyma valley (On the slope of the valley, beside two black poplars). Duma about the death of a Cossack bandurist (On the Tatar fields). Duma about the lament of the cuckoo (Very early in the morning through the morning stars). Duma about Cossack Holota (In the fields, the Kylyian fields). Duma about Ivan Konovchenko (In the famous city of Kopystryn). Duma about Khvedir, the one without kin (It was for a great cause, the Tsar's cause). Duma about the widow of Ivan Sirko (In the city of Merefa there lived an old woman). Duma about the old otaman Matiash (Where the rivers Samara and Boh meet). Duma about Khvesko Hanzha Andyber (In the field, the Kylyian field). Duma about Khmelnytsky and Barabash (Suddenly one day, at a certain hour, a great war started in Ukraine). Duma about the battle of Korsun (Said Pan Khmelnytsky). Duma about the oppression of Ukraine by Jewish merchants (From the time of the Kumeiky battle until Khmelnytsky's uprising). Duma about Khmelnytsky and Vasylii of Moldavia (From the meadow, from the river Dniester, a quiet breeze was blowing). Duma about the Polish oppression of Ukraine after the treaty of Bila Tserkva (Did Pan Khmelnytsky do right). Duma about Ivan Bohun (In Vinnytsia, on the border). Duma about the death of Bohdan Khmelnytsky, about young Ievras Khmelnytsky and Pavlo Teterenko (Khmelnytsky began to worry and trouble his old head). Duma about Cossack life (Many a Cossack did himself harm). Duma about a Cossack saying farewell to his family (Early on a Sunday morning). Duma about a stepfather and a widow's son (On a Sunday, before the morning star had set, bells were ringing in the holy churches). Duma about a dream (On a holy Sunday, a widow's son). Duma about a poor widow and her three sons (On a holy Sunday). Duma about a brother and sister (On a holy Sunday).

A parallel text edition (Ukrainian and English) of the texts of 33 dumy [the editorial statement claims erroneously that there are only 32!] with an English only "Translators' foreword" and "Introduction". Editorial note describes this editio minor as a college text with a complete edition containing textual varians, scholarly introductions and full annotations promised at some future date. According to the foreword, most translations have been based on Kateryna Hrushevs'ka's Korpus and are arranged in the order established by Hrushevs'ka. The translators state that they "have tried to stay away from any persistent attempts at rendering the prosodic characteristics of the originals", bacause they felt that semantics "plays a much greater role (is much more interesting from the literary standpoint)" and that their "approach was a poetic one rather than scholarly", that they "have tried above all to produce results that sounded valid (were poetry) in English". Kononenko-Moyle's scholarly essay discusses the content and verse structure of the dumy, as well as the performers of this oral literature and the duma scholarship. The essay is supplemented with one and one half pages of bibliographical notes. There is a constant "element of tragedy and death in the Ukrainian dumy", says Kononenko-Moyle, "more apparent than in other epic traditions", but it "is always counterbalanced by the positive element of heroism". According to Kononenko-Moyle, dumy "speak of heroism in the face of defeat", "of the pathos of the impossible choice", and "As in other epic traditions, the decision is often between loyalty and duty to kin and allegiance and service to country".

For identifications of individual titles in Ukrainian see Index.

B106. Ukrainian Folk Tales. Kiev: Dnipro, 1974. 118 p. illus.

Selected and translated by Anatole Bilenko. Edited by Olga Shartse. Illustrated and designed by Roman Adamovich.

Contents: Pan Kotsky, the Puss-o-Cat. Foxy-Loxy and Palsy-Wolfie. The goat and the ram. Kolobok the Johnnycake. Kotihoroshko Rollipea. Oh. The wheat-ear. The magic egg. Ilya Muromets and nightingale the robber. The little shepherd. Boris Son O'Three. The golden slipper. The poor man and the Raven Czar. The poor man and his sons. The poor lad and the rich merchant Marko. Danilo who had no luck. A tale about the little linden tree and the greedy old woman. A tale about the stolen postoli and the boiled eggs. Misery. The farm.

B107. Ukrainian Herald: underground magazine from Ukraine. Issue IV. Munich: ABN Press Bureau, 1972. 199 p. ports.

Translation and publication in book form of the fourth issue of Ukrains'kyi visnyk, originally published as a samvydav document in Ukraine in January 1971. It includes a number of literary or literature-related materials as well as biographical notes on Ukrainian writers. B/w portrait of V. Moroz appears on p.31, that of V. Symonenko - on p.73. Translations of poetry are by Vera Rich.

Partial contents: In memory of Alla Hors'ka (Burst into spring, my soul, and do not wail) / Vasyl' Stus [poem]. A shameful mock trial in Ivano-Frankivsk (Valentyn Moroz sentenced to 14 years) [anon. article and protest declarations by B. Antonenko-Davydovych, I. Dzyuba, V. Chornovil, Olha Horyn, Iryna Stasiv-Kalynets', Ihor Kalynets, Oksana Meshko, V. Drabata, Stefaniya Hulyk, Vasyl Romanyuk. Works by Valentyn Moroz: From the collection "Prelude" [Poems]: Ukraine (Crimson of sunshine and heavy blackness). The bowstring (The wind, grey grandson of Svaroh, sounds trumpets). Belated flight (The muscles call to roam). Prelude (Amid the oaks, upon the fresh-cut clearing). Lutsk (Lyubart, O prince, with beard that shimmers argent). The first day [prose]. Poems dedicated to Valentyn Moroz: From the cycle "Recapitulating silence" (1970) dedicated to Valentyn Moroz: To Valentyn Moroz (I would wish this book might become) / Ihor Kalynets. Introduction to the cycle "The Stone Windmill" (Whenever I recollect) / Ihor Kalynets. Threnody (First station. Second station. Third station. Fourth station. Fifth station. Sixth station. Seventh station. Eight station. Ninth station. Tenth station) / Ihor Kalynets. From the cycle "Easter". The collection "Light and confession" (1970): Kosmach - 1970 (our dwellings and shrines are all in the valley) / Hryhoriy Chubay. To the days of Vasyl Symonenko [anon. article]. The prohibited works of Vasyl Symonenko: Poems: Elegy for a corn-cob that died at the depot (There is no wailing heard. The orchestras grow rusty). The gate (Unknown forms and images disordered). The Ukrainian lion (My thoughts now are swelling, to words they are growing). Ballad of the outlander (One Whitsun, from out of where dense rushes grow). *** (What for you from the start has been fated). *** (I am fleeing from self, from pain and exhaustion). *** (Carry me upon your wings, my happiness, and come). The court (Paragraphs upon the bench were seated). Chorus of elders from the poem "Fiction" (Our race is wise; that is a law of nature). To a Kurdish brother (The mountains, their soil blood-soaked, call, resounding). Terror (Granite obelisks, crawled like medusas). *** (Deep into your eyes, now, I am gazing). *** (There are a thousand roads, a million narrow pathways). The ballad of happiness (Into the entry she stumbled). The one-armed forester (Narrative story) [prose]. Diary: Scraps of thought. [Diary entries dated from 18 September 1962 to 20 September 1963]. Speech delivered by Ivan Svitlychnyi in memory of Vasyl Symonenko (Kyiv Medical Institute, December 1963). The speech of Yevhen Sverstyuk at an evening in memory of Vasyl Symonenko (in the Kyiv Medical Institute in December 1963). Introductory speech delivered by Ivan Dzyuba on the first anniversary of the death of Vasyl Symonenko (Kyiv, Club of the Oil and Gas Institute, 12 December 1964). A speech commemorating the 30th birthday of Vasyl Symonenko, delivered on 16 January 1965 at the Republican Building of Literature in Kyiv by Ivan Dzyuba. An open letter to "Literaturna Ukraina / Mykola Nehoda [about Symonenko]. Unpublished poems dedicated to Vasyl Symonenko: To Vasyl Symonenko (And how are you, then Vasyl', deep under) / Ivan Drach. To Vasyl' Symonenko (I have given you all) / Mykola Kholodnyy. To Symonenko (You know, there is such joy waiting) / Bohdan Stel'makh. *** (Deathless and noble immortal impulses) [poem] / Svyatoslav Karavans'kyy. Through the eyes of foreigners [summaries and excerpts of some parts of the introduction to a French- language book "A new literary surge in Ukraine" by Emanuel Rais published in Paris in 1967 and reprinted in Ukrainian translation in Ukrains'kyi visnyk]. Appendix: *** (Maybe 'tis so, should stand, without repealing). The lonely mother (Silent he fell) / Vasyl Symonenko. [Two additional poems].

In addition to these materials, The Chronicle [of repressions and persecutions] includes also some biographical data about Soviet Ukrainian writers.

Dziuba's speech commemorating the 30th birthday of Symonenko [pp.121-131] is a critical assessment of Symonenko's work. Says Dziuba: "Symonenko started from shallow maxims but arrived at philosophical, political thought, at the creation of ideas, at poetry as an arena for independent thinking." Symonenko, according to Dziuba was a self-critical writer, a person of high integrity and courage, a poet of national idea who gave his contemporaries "the moral lesson of civic ethics."

For identifications of individual literary works see Index.

B108. The Ukrainian Herald. Issue 6: Dissent in Ukraine. An underground journal from Soviet Ukraine. Introd. by Yaroslav Bilinsky. Tr. from the Ukrainian and edited by Lesya Jones and Bohdan Yasen. Baltimore: Smoloskyp, 1977. 215 p.

Publication in book form of the sixth issue of Ukrains'kyi visnyk - an English translation of a samvydav journal which appeared in Soviet Ukraine in March 1972. Partial contents of literature-related material: Arrests and house searches [pp.15-20; a chronicle of events, some involving Ukrainian writers and literary scholars: Vasyl Stus, Ivan Svitlychnyi, Yevhen Sverstyuk, Mykola Kholodny, Ivan Dzyuba, Zinoviya Franko, Vyacheslav Chornovil, Mykhaylo Osadchy, Iryna Stasiv-Kalynets, Hryhoriy Chubay, Taras Melnychuk]. What Bohdan Stenchuk defends and how he does it / V. Chornovil [pp.21-62; on Ivan Dziuba's Internationalism or Russification]. The case of Valentyn Moroz [pp.88-111; statements and petitions]. Statement of poet Mykola Kholodny [pp.121-123; about suppression of literary works]. A chronicle [pp.124-140; includes data on literary readings, Shevchenko anniversary demonstrations, folklore rituals and reprisals which followed]. Anatoliy Lupynis [pp.149-153; includes the text of his poem "Taras, O Father, raise your head" on pp.150-152; translation of "Tarase, bat'ku, pidnimy cholo"]. Notes [pp.181-209; includes some data on Ukrainian writers Vasyl Stus, Ivan Svitlychnyi, Ievhen Sverstiuk, Mykola Kholodnyi, Ivan Dziuba, Viacheslav Chornovil, Mykhailo Osadchyi, Iryna Stasiv-Kalynets, Ivan Drach, Valentyn Moroz, Vasyl Symonenko, Ihor Kalynets, Vasyl Holoborod'ko, Vitalii Korotych, Vasyl Ruban, Mykola Vinhranovs'kyi, Oles' Honchar, Anatolii Lupynis, Lina Kostenko].

B109.The Ukrainian Herald. Issue 7-8. Ethnocide of Ukrainians in the USSR. Spring 1974. Comp. by Maksym Sahaydak. Introd. by Robert Conquest. Tr. from the Ukrainian and edited by Olena Saciuk and Bohdan Yasen. Baltimore: Smoloskyp, 1976.

Translation and publication in book form of issues 7-8 of the underground journal Ukrains'kyi visnyk, published in Ukraine in the Spring of 1974. Contents of literary material: Maksym Sahaydak: Poems (pp.165-172): The way (I'll not repent). *** (Cowards! To you I cry). *** (Ask me, ask!). A rose among weeds (I sowed flowers in a garden). Golgotha (Into Siberian taiga's wild thickets). *** (I saw: the sad, low bend of poplars, lining roads). *** (My steppe - plowed up). These represent translations of the following poems: Doroha (Ia kaiatys' ne budu). (Do vas volaiu). *** (Zapytai, zapytai!) Troianda i bur'ian (Ia v ohorodi kvity siiav). Holhofa (Tudy, de ne litaly zhuravli). *** (Ia bachyv, iak tuzhlyvo skhylylys'). *** (Mii step - rozoranyi, rozorenyi, znivechenyi). Brief biographical notes at pp.188-204 include the following writers: Roman Andriashyk (p.188, 4 lines), Borys Antonenko-Davydovych (p.188, 14 lines), Bohdan Antonych (p.188, 6 lines), Ivan Bahriany (p.188, 10 lines), Oles Berdnyk (pp.188-189, 16 lines), Ivan Bilyk (p.189, 4 lines), Kost Bureviy (p.189, 7 lines), Vasyl Chaplenko (p.189, 8 lines), Vyacheslav Chornovil (p.190, 23 lines), Mykhaylo Dray-Khmara p.190, 7 lines), Ivan Dzyuba (pp.190-191, 24 lines), Dmytro Falkivsky (p.191, 3 lines), Ivan Franko (p.191, 10 lines), Roman Ivanychuk (p.192, 5 lines), Viktor Ivanysenko (p.192, 7 lines), Ihor Kalynets (p.192, 16 lines), Svyatoslav Karavansky (pp.192-193, 18 lines), Mykola Khvylovy (p.193, 17 lines), Hryhoriy Kochur (p.193, 4 lines), Lina Kostenko (p.193, 12 lines), Hryhoriy Kosynka (p.194, 7 lines), Mykhaylo Kotsyubynsky (p.194, 14 lines), Zinoviy Krasivsky (p.194, 17 lines), Ivan Krushelnytsky (p.194, 6 lines), Mykola Kulish (p.195, 11 lines), Mykola Lukash (p.195, 6 lines), Anatoliy Lupynis (p.195, 9 lines), Arkadiy Lyubchenko (p.195, 4 lines), Valentyn Moroz (p.196, 15 lines), Ivan Ohiyenko (p.196, 9 lines), Mykhaylo Osadchy (p.197, 9 lines), Serhiy Plachynda (p.197, 5 lines), Yevhen Pluzhnyk (p.197, 5 lines), Leonid Plyushch (p.197, 14 lines), Vasyl Ruban (p.198, 2 lines), Iryna Senyk (p.198, 10 lines), Markiyan Shashkevych (p.199, 4 lines), Taras Shevchenko (p.199, 17 lines), Iryna Stasiv-Kalynets (pp.200-201, 16 lines), Vasyl Stus (p.201, 19 lines), Yevhen Sverstyuk (p.202, 15 lines), Nadiya Svitlychna (p.202, 12 lines), Ivan Svitlychny (p.202, 18 lines), Vasyl Symonenko (p.203, 17 lines), Lesya Ukrayinka (p.203, 30 lines), Olexiy Vlyzko (p.204, 6 lines), Serhiy Yefremov (p.204, 15 lines), Mykola Zerov (p.204, 9 lines).

B110. Ukrainian Intellectuals in Shackles; Violations of human rights in Ukraine. New York: Ukrainian Congress Committee of America, 1972. 17 p. illus.

A political pamphlet containing, among other things, brief biographical notes with b/w portraits of the following Ukrainian writers: Viacheslav Chornovil (p.4), Ivan Dziuba [Dzyuba in text] (p.4), Ivan Svitlychnyi [Svitlychny in text] (pp.4-5), Ievhen Sverstiuk (p.5), Iryna Stasiv- Kalynets' (p.5, port.p.7), Sviatoslav Karavanskyi [Karavansky in text] (pp.7-8), Valentyn Moroz (p.8).

B111. Ukrainka, Lesia. Hope: selected poetry / Lesya Ukrainka. Tr. from the Ukrainian by Gladys Evans. Portrait of Lesya Ukrainka by Vasyl Chebanik. Kiev: Dnipro, 1975. 141 p. port.

Contents: Lesya Ukrainka (1871-1913) / Arsen Ishchuk. Hope (No freedom have I, my good fortune has flown). The visions (Once on a sleepless night, when the hours fall blackest near morning). To Nature (In childhood, Mother Nature, I climbed into your lap). On an old theme ("Good afternoon, my pretty dovey!). Contra spem spero (Get away, gloomy thoughts of the autumn!). Seven strings: DOH (To you, our dear Mother Ukraine wracked with misery boundless). RAY (Rage and roar, you stormy weather). ME (Moonlight brightly shining). FAH (O Fantasy, strong is your magic and deep!). SOH (The spring magic of May's tender green). LAH (O tender spring nights with starlight spilling). TE (One after another I plucked seven strings). *** (When I am weary of life's daily round). Tears of pearls: I. (My dear native land! Hearth and home I call mine). II.(My Ukraine! I weep for you many a tear). III. (Oh, all our tears that burn with grieving). The dream (I saw my love once when I had a dream). Predawn lights (Beneath the black wings of the dark night nestling). *** (My deepening sadness has gathered above in a thick black cloud). *** (My thoughts to you forever seem to strain). Enemies...! (Excerpt) (...Those eyes that once were in the habit). Reminder to a friend (Who knows, my dearest friend, how soon chance wills we meet). *** (Why, my words, aren't you cold steel, tempered metal). *** (As a child I sometimes fell). *** (...Our talk was broken off, we were not through). The forgotten shadow (The strict and noble Dante, exiled Florentine). *** (Your letters are always scented with fading roses...[prose]. Rhythms: I. (Where have you gone, ringing words, where to?). II. (Are mournful words that grief gives birth to). III. (If golden slanting sunbeams could be changed). IV. (Oh, I should like to float upon the waters). V. (..Yes, it's beyond me, I cannot subdue it). VI. (If only my blood would flow out as easy). Niobe (Children! O my dear children! Have I really lost you forever?). *** (Moonlit waves burst with foam-crested gleaming). Smoke ("The smoke that hovers in our native land). Inscription on the ruins ("I, tsar of tsars, am the sun's almighty son). Simoon (The red Simoon in Egypt is on the move). Breath of the desert (The desert breathes. A free and steady sighing). Afra (Silence. The air hangs as still and unmoving as water, stagnant). The mysterious gift (Egypt cannot weep long. With her tears, she has washed the palm-trees). Epilogue (Who never lived through storm and stress). *** (Who told you I submit to fate).

A parallel text edition: Ukrainian and English. The Ukrainian title on the added title page: Nadiia: vybrani poezii. The introduction by Arsen Ishchuk (pp.7-[10]) appears in English only. He provides data about Lesia Ukrainka's life and literary legacy, stressing her revolutionary spirit. Says Ishchuk: "The publicistic verve of Lesya Ukrainka's poems... placed her on a level with many people's tribune-poets, who tempered their words in the class struggle. But she was not simply an equal among equals: she stands out distinctly from the rest for the deep philosophical thought and perfection of form found in her poetry and, moreover, for that special something that moves people's hearts." For identifications of individual titles see Index.

B112. Ukrainka, Lesia. In the Catacombs. Dramatic poem. Tr. from the Ukrainian by John Weir. Afterword by Oleg Babyshkin. Illus. by Mikola Storozhenko. Kiev: Mistetstvo, 1971. 88 p. illus., port.

Translation of the poem "U katakombakh". Beginning lines: "Bishop: Now, brethren, let us Jesus praise, our Lord" (= Iepiskop: Proslavmo zh, brattia, hospoda Khrysta). Parallel text edition.

Babyshkin's afterword appears on pp. 76-[81] in Ukrainian; on pp.82-[87] in English. He characterizes Lesia Ukrainka's dramatic poem as "an impassioned materialistic work whose essence rests in the philosophical renunciation of christianity." It reflects, in his opinion, the author's "profound understanding of the interests of the disinherited classes and of the necessity for class struggle in an antagonistic society. It is a work about the political enlightenment of the toilers."

B113. Ukrainka Lesia. Lesya Ukrainka. Life and work / by Constantine Bida. Selected Works / Translated by Vera Rich. [Toronto]: Published for the Women's Council of the Ukrainian Canadian Committee by University of Toronto Press [1968]. viii, 259 p.

Contents: Preface / Ukrainian Canadian Committee, Women's Council. Translator's preface / Vera Rich. Contents. Life and work / Constantine Bida [1. Life (pp.3- 25); 2. Poetry (pp.26-42); 3. Drama (pp.43-84]. Selected Works / Tr. by Vera Rich: The stone host. The orgy. Cassandra. Robert Bruce, King of Scotland: Prologue (We shall recall the days far back and wonder). I ('Tis now five hundred years ago). II.(Robert rode wide over Scotland's fair land). III. (On the desolate shore of the ocean). IV. (Ah, not a falcon to the glen). V. (Thus Robert became king in Scotland). VI. (Sincere agreement, order true prevailed there). Seven strings: a cycle: I.DOH (DOlorous mother, Ukraina, fortune neglected). II. RE (RAging the storm bowls, lamenting). III. MI (MEek the moon shiningly. IV. FAH (FAntasy, thou art the magic force). SOL (So Lovely in springtime there streams). VI. LAH (LArgessed with moonlight, mild nights of springtime). VII. SI (SEE, seven strings I pluck, string after string). Shorter poems: Contra spem spero (Thoughts, away, you heavy clouds of autumn!). Untitled (And thou, like Israel once fought great battles). Epilogue (He who dwelt not among tempests).

Constantine Bida provides what he considers "an outline of the main phases" of Lesia Ukrainka's life "and some account of her family, the social and cultural environment in which she grew up and developed her talent and point of view, and the external influences which helped to shape her literary attitudes." Lesia Ukrainka's best lyrical poetry, according to Bida, appeared in the 1890s and early 1900s. "The wealth and variety of her prosody and her talent for modern versification greatly enriched Ukrainian lyrics." "By introducing new subject matter and jettisoning the older stereotyped social lyrics" she "rejuvenated Ukrainian poetry", and laid the foundation for the age of Modernism, says Bida. Lesia Ukrainka's greatest achievement, in Bida's view, is in her dramatic works. "The elements of conflict, of relentless struggle for justice, and of higher human ideals already exist in her lyrics, but this general mood finds its elaboration and complete realization primarily in the dramas and dramatic poems," says Bida. He discusses the actual and potential influences on Lesia Ukrainka's dramatic works of Schiller, Hauptmann, and Ibsen and analyzes in some detail her dramatic works "Blakytna troianda", "Oderzhyma", "Vavylons'kyi polon", "Osinnia kazka", "Try khvylyny", "V katakombakh", "V domu roboty, v kraini nevoli", "Rufin i Pristsilla", "Na poli krovy", "Iohanna, zhinka Khusova", "Ifiheniia v Tavrydi", "Boiarynia", "Orhiia", "Kassandra", "U pushchi". Three plays are characterized as masterpieces: "Lisova pisnia", "Advokat Martiian", and "Kaminnyi Hospodar". The main theme of "Lisova pisnia", is "pure love which transforms earthly desires into eternal ones", says Bida, it is "a joyous affirmation of life"; in this play "manipulation of contrast is combined with deep lyricism and artistic perfection". "Advokat Martiian" "in spite of its brevity", says Bida, "is a rare example of terse strength. There are no monologues in the play nor any superfluous words or scenes... The structure of the play is symmetrical and well-proportioned." "Kaminnyi hospodar" is, according to Bida, an original treatment of the Don Juan theme and is characterized by "its well balanced structure", "its dynamic power", "concise dialogue", "the apt aphorisms" and "semantic richness".

Vera Rich's translations in this volume include the full texts of the play "Kaminnyi hospodar", of dramatic poems "Orhiia" and "Kassandra" and of the poems: "Robert Brius, korol' shotlands'kyi" "Sim strun". "Contra spem spero". "I ty kolys' borolas', mov Izrael'" "Epiloh (Khto ne zhyv posered buri)".

B114. Ukrainka, Lesia. Spirit of Flame. A collection of the works of Lesya Ukrainka. Tr. by Percival Cundy. Foreword by Clarence A. Manning. Westport, CT: Greenwood Press [1971]. 320 p. port.

A photomechanical reprint of the Bookman Associates 1950 edition [cf.ULE: Books and Pamphlets, 1890-1965, B85].

Contents: Foreword / Clarence A. Manning [pp.9-16]. Introduction [pp.17-37]. Selections from the lyrical poems: 1.Love: My burning heart (My heart is burning up as in a raging fire). Delusive spring (Spring again, and once more hopes). Hebrew melody (No longer mine! A distant land has sundered us). A summer night's dream (One summer night in sleep I dreamed a blissful dream). A forgotten shadow (Austere Dante, the Florentine exile). 2. Nature: Spring's victory (My heart for many a day refused to yield to spring). Sing, o my song (Long has my song been held captive in silence). Autumn (Autumn with fingers all bloodstained hastes on). To the stars (Happy are ye, all ye spotless stars!). 3. Personal experiences: A former spring (The spring came lovely, prodigal, and sweet). The weapon of the word (O word, why art thou not like tempered steel). "Contra spem spero" (Hence, dark thoughts! Away, ye autumn mists!). Do you remember... (Do you remember that time when I spoke). 4. The poetic calling: Moods (Why is it at times when I sit down to write). The avenging angel (When dark enwraps the world at dead of night). The power of song (Nay, I am unable to subdue or vanquish). 5. Love of country: Vain tears (Laments and groans are all around). From the cycle Seven Strings (For thee, O Ukraine, O our mother unfortunate, bound). Hope (No more can I call liberty my own). Tears o'er Ukraine (Ukraine! bitter tears over thee do I weep). Iphigenia in Tauris. 6. Social justice and human rights: Foregleams (Deep night wraps wearied folk in lassitude). Where are the strings? (Where are the strings, where is the mighty voice). Reminder to a friend (My friend, who knows how soon we may resume). And yet, my mind...(And yet, my mind flies back to thee again). "Slav" and "slave" (The Slavic World - the magic phrase expands). Inscription on an Egyptian ruin ("The king of kings, I, Aton's mighty son). Grandfather's fairy tale (When I am wearied with the cares of life). Selections from the dramatic poems and dramas: On the ruins; dramatic poem. Babylonian captivity; dramatic poem. The noblewoman; dramatic poem in five scenes. Forest song; fairy drama in three acts. Martianus the advocate; dramatic poem in two scenes.

Percival Cundy's biographical introduction provides an insight into Lesia Ukrainka's life and work; he considers her an innovator whose role began to be appreciated only posthumously. "It is now realized," says Cundy, "that she possessed a remarkably strong poetic imagination, a universalism in her choice of themes, a profound penetration of the variations of human psychology, together with a style both highly lyrical and charged with dramatic power." C.A. Manning's eight-page foreword attempts to assess the significance of Lesia Ukrainka in the development of Ukrainian literature. "With her knowledge and appreciation of European literature, she was able to sense the trend of literary development and to implant on Ukrainian soil those devices and conventions that were proving themselves abroad, without injuring her own individuality and artistic talents. She was a learned poet - in the best sense of the word", says Manning.

For identifications of individual titles see Index.

B115. Valor: Stories by Soviet Ukrainian Writers About the Great Patriotic War of 1941-1945. Ed. Arthur Bernhard. Tr. from the Ukrainian. Kiev: Dnipro, 1975. 174 p. illus., ports.

Contents: Everlasting memory / Yuri Zbanatsky (pp.7-8). Olexandr Dovzhenko: Mother / Tr. Anatole Bilenko. Andriy Holovko: Friendship / Tr. Anatole Bilenko. Oles Honchar: Modry Kamen / Tr. Mar Pinchevsky. Springtime beyond the Morava / Tr. Mar Pinchevsky. Yuri Zbanatsky: Oh, get away / Tr. Anatole Bilenko. The storm / Tr. Anatole Bilenko. Vasil Kozachenko: There were forty of them / Tr. Anatole Bilenko. Olexandr Kopilenko: Brothers / Tr. Anatole Bilenko. Ivan Le: Hill 206 / Tr. Anatole Bilenko. Petro Panch: The black cross / Tr. Gladys Evans. Leonid Pervomaisky: Father / Tr. Gladys Evans. Yuri Smolich: The champ / Tr. Anatole Bilenko. Mikhailo Chabanivsky: The queen of the mirror palace / Tr. Anatole Bilenko. Yuri Yanovsky: Grandad Danilo from "Socialism" / Tr. Gladys Evans.

The authors are characterized by Zbanats'kyi in his foreword as "either direct participants in the war, who experienced the gruelling life of soldiers, or front-line correspondents who reported about the bitter aftermath of the war." Each of the authors is given a bio-bibliographical note and a b/w portrait. The collection is illustrated also with b/w photos from the war years.

The collection contains translations of the following stories: Maty / Oleksandr Dovzhenko. Druzhba / Andrii Holovko. Modry Kamen. Vesna za Moravoiu / Oles Honchar. Vidchepys' Mors'ka chaika (Shtorm) / Iurii Zbanats'kyi. Ikh bulo sorok / Vasyl' Kozachenko. Braty / Oleksandr Kopylenko. Vysota 206 / Ivan Le. Chornyi khrest / Petro Panch. Bat'ko / Leonid Pervomais'kyi. Chempion / Iurii Smolych. Koroleva dzerkal'noho palatsu / Mykhailo Chabanivs'kyi. Did Danylo z "Sotsializmu" / Iurii Ianovs'kyi.

B116. Vovk, Vira. Meandry=Meandres=Meanders. / Zoya Lisowska, Wira Wowk. From Ukrainian: Maria Lukianowicz. Rio de Janeiro: Companhia Brasileira de Artes Graficas, 1979. unnumbered, col. illus.

Vira Vovk's miniature poems appear in this edition in three languages: Ukrainian, French and English and are illustrated with 36 full page color reproductions of the art work of Zoya Lisowska, which include also the artist's self-portrait and a portrait of the poet.

Contents of the English language material:

eyelashes scattered over the sea flaming paints on the ceramic the grapes bells ring out for Daphne morning's red flower this wind that leaps thunder in the breast not mournfully night behind these dunes doubt does not cling to us it was for this poppy seeds perhaps I was that blind man broken moon vibrations of light when the road is like a bow string the wound women gather the dead shake out on the threshold thousands of sandals the summer pours the panther carries on the roofs the celestial hind people know Jacob's ladder they grew up on splinters of the moon butterfly of the nocturnal rainbow instead sunflowers shout out no dream of chimeras cabbalistic stars dusk stretches dark clay.

For identifications of individual poems see Index.

B117. Wacyk, Nicholas. Ivan Franko: His Thoughts and Struggles. New York: Shevchenko Scientific Society, 1975. xv, 114 p. (Shevchenko Scientific Society. Ukrainian studies, v.38. The English section, v.11).

Contents: Foreword / Wasyl Lew. Preface to the German edition / Nicholas Wacyk. Preface to the English edition / Nicholas Wacyk. Rules on the transliteration of the non-English personal and topographical names (adopted by Shevchenko Scientific Society). Abbreviations. The first period (1873-1876): Under the spell of Ukrainian Romanticism. 1. School days and the first works. 2. National rebirth in Western Ukraine. The second period (1877-1897): Subdivision I (1877-1891): Franko's evolution towards positivism. 3. Drahomanov's influence and the first arrest. 4. Under the banner of socialism. Subdivision II (1892-1897): 5. Franko's turn from socialism. The third period (1898-1916): 6. National trends in Franko's works. 7. Franko's attitude towards Marxism. 8. The poem "Moysey". 9. Conclusion. Bibliography. Index.

An expanded English version of the author's doctoral dissertation presented at the University of Vienna and published originally in German in 1948 under the title: Die Entwicklung der national-politischen Ideen Ivan Franko's und seine Kämpfe für sie. The author discusses the development of Ivan Franko's national and political ideas on the basis of his life and works, and concludes that "the poet was not doctrinaire. He endeavored to follow European intellectual development very closely. His works show a tendency towards a higher ideal order leading people to happiness..."

B118. Wasyl Stefanyk: Articles and Selections. [By Peter Prokop, Jerry Shack, Mary Skrypnyk, Peter Krawczuk]. Toronto: Kobzar Publishing, May 1971. 50 p. illus., ports.

Contents: Wasyl Stefanyk / Mitch Sago [p.4]. Monument to Wasyl Stefanyk / Peter Prokop [pp.5-7]. A son talks about his father / Kirilo Stefanyk [pp.8-17]. The news / Wasyl Stefanyk. Tr. by Jerry Shack [pp.18-19]. Maple leaves / Wasyl Stefanyk. Tr. Mary Skrypnyk [pp.20-25]. The pious one / Wasyl Stefanyk. Tr. by Jerry Shack [pp.26-27]. Katrusia / Wasyl Stefanyk. Tr. Jerry Shack [pp.28-30]. The stone cross / Wasyl Stefanyk. Tr. Mary Skrypnyk [pp.31-38]. Wasyl Stefanyk and the Ukrainian heritage in Canada / Peter Krawchuk [pp.39-50].

A large format richly illustrated pamphlet - a "spin off" of reprints from The Ukrainian Canadian. The pamphlet consists of four articles about Vasyl' Stefanyk and translations of five of his short stories, namely Novyna, Klenovi lystky, Pobozhna, Katrusia and Kaminnyi khrest. The illustrations include: portraits of Stefanyk on the cover and on the title page, reproductions of painted portraits of Stefanyk by Wasyl Kasian and Ivan Trush, a photo of his monument to be unveiled in Edmonton with the monument's sculptor Volodimir Skolozdra from Lviv, photo of Stefanyk's wife Ol'ha Hamorak, of his house in Rusiv, group photos of Stefanyk with other Ukrainian writers (Kotsiubyns'kyi, Pchilka, Lesia Ukrainka, Mykola Staryts'kyi, Vasyl' Samiilenko, Les' Martovych, Marko Cheremshyna), a photo of Stefanyk with his niece Paraska Melnychuk, reproductions of book covers and book illustrations, etc.

Mitch Sago's introduction is an excerpt from an editorial in the May 1971 issue of the Ukrainian Canadian written on the occasion of Vasyl' Stefanyk's birth centennial. Prokop discusses planned celebrations of Stefanyk's centennial in Canada organized by the Association of United Ukrainian Canadians which are to culminate in the unveiling in Edmonton of V. Skolozdra's bust of Stefanyk sent from Lviv as a gift of the Ukraina Society. Kyrylo Stefanyk's memoir describes the writer as "a man of tremendous energy and vitality" who was left a widower at 43 after ten years of marriage with three small sons and who never married again. Kyrylo Stefanyk discusses his father's work habits, his relations with his relatives, with his fellow-villagers in Rusiv, with his constituents, his political attitudes, his health. Krawchuk's article focuses on the Canadian subject matter in Stefanyk's works, his attitudes toward the mass emigration of Ukrainian peasants to Canada. "The field" - Stefanyk's story of about a page in length is quoted in its entirety as an illustration of Stefanyk's style and method. Krawchuk also quotes the text of an article by Myroslav Irchan published originally in the 15 March 1924 issue of the Ukrainian-Canadian magazine Working Woman and discusses other Stefanyk- related material in the Canadian Ukrainian press. Krawchuk also takes issue with what he calls "chauvinistic" Ukrainian groups in Canada who, according to Krawchuk, "are speculating now on Wasyl Stefanyk's anniversary..." He cites Stefanyk's letter to Irchan dated 10 September 1924 where Stefanyk says: "I will be happy when the workers having gained revenge, will bring us Ukraine in their work-worn hands and place her, for every one of us, next to our hearts." "...anyone who wishes to present Stefanyk as a nationalist", says Kravchuk, "does the writer a great disservice, profanes his creative image and his activities as a public figure."

B119. Woycenko, Ol'ha. Ukrainian-Canadian Letters. Winnipeg: UVAN, 1969. 27 p. (Slavic literatures in Canada, 1) (Slavistica, no.65).

A revised and up-dated reprint of Chapter 9 of the author's The Ukrainians in Canada (Winnipeg, 1967, Canada Ethnica IV): 125-143. See also A1716.

B120. Wynar, Christine L. Ukrainian Children's Literature in North America. Englewood, CO: Ukrainian Research Foundation, 1979. 6-20. illus. biblio.

An offprint from Phaedrus, an international journal of children's literature research [cf. A1727], with an added page of b/w illustrations by V. Verbyts'kyi, Okhrim Sudomora, Iurii Narbut and Jacques Hnizdovsky. The main focus of Wynar's essay is on Ukrainian children's books, children's journals (such as Veselka), publishers specializing in juvenile literature and juvenile sections in adult periodicals published in the United States and Canada. The introductory section provides some history of Ukrainian children's literature in Ukraine, from the children's primer issued by Markiian Shashkevych in Lviv in 1850 and Marko Vovchok's juvenile stories (1877), characterized by Wynar as "the first artistic prose written especially for children" to Western Ukrainian children's magazines Svit dytyny (1919-1939), Dzvinochok (1931-1939), and Mali druzi (1937-48). Children's literature published in Soviet Ukraine is not discussed.

B121. Zahrebel'nyi, Pavlo. From the Point of View of Eternity. / Pavlo Zagrebelny. Tr. by Christopher English. Illus. by Zoya Kozina. Moscow: Progress [©1978]. 231 p. illus.

Translation of the novel Z pohliadu vichnosti. Ukrainian title and the author's name appear side by side with the English name and title both on the title page and on the cover. There is a brief biographical note about the author on the back cover with a map as an illustration indicating Kyiv's location within the USSR. Author's portrait is part of the design of the front cover. There is an untitled introduction (pp.7-15) by A. Vlasenko, which calls the author "the leading Ukrainian novelist" and characterizes the novel as one that "gives a realistic account of the relationship between workers and the scientific and technological intelligentsia..."

B122. Zinkewych, Osyp. Svitlychny and Dzyuba: Ukrainian Writers Under Fire. Baltimore: Smoloskyp, 1966. 52 p. illus., ports.

Contents: Ukrainian writers under fire. Ivan Svitlychny. Ivan Dzyuba. The thoughts of Ivan Svitlychny. The thoughts of Ivan Dzyuba. Bibliography: Ivan Svitlychny. Ivan Dzyuba. Notes on newspapers and magazines mentioned in the bibliography. A summary of Western press.

A compilation of biographical and bibliographical materials about Ivan Svitlychnyi and Ivan Dziuba, two young literary critics, currently under persecution in Soviet Ukraine, with some excerpts from their works to illustrate their unconformist thinking. The cover design for the booklet is by Orest Polishchuk. B/w portrait of Svitlychnyi appears on p. 14; that of Dziuba - on p.18.