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ognized as her best works. The first explores social class conflicts resulting from the marriage of a girl from a socially prominent family to a lawyer, the son a simple villagers whose lifestyle is as alien to her as hers is to them. The second examines the political bickering of 19th century clergy and social chaos in Ukrainian vil lages that have been recently liberated from serfdom. The third, a novella, focuses on a mother and daughter divided by religious, nationalistic, and class loyalties. Among her other novels are Olya, Provallya (The Abyss), Rodnya Goldiv (The Gold Family), and Khurtovyna Hryade (Approaching Blizzard). Born in the vilage of Dolyna in Western Ukraine, Maria Strutyn’ska began her professional life as a teacher. Later, her interest in literature and in current events led her into the field of journalism. In the 1930’s Strutyn’ska was editor of the journal “Ukrainka” and an active member of Soyuz Ukrainok. Journalism was a passion she shared with her husband Mykhailo; the young couple were part of the inner circle of the literary and political elite that figured prominently in the pre war era of Ukrainian history. When Mykhailo, a political activist in his own right, was killed by the Soviets in June 1941, Maria Strutyn’ska continued alone the work they had shared. During the war years, she co-edited the literary monthly Nashi Dni in Lviv; despite German censorship, the journal’s circulation climbed to 18,000 during her tenure as co-editor. After the war, Strutyn’ska emigrated to Austria, and finally to Philadelphia where she wrote Bury a nad L’vovom (Storm Over Lviv), an account of the Soviet occupation of Western Ukraine, and Daleke z Blyz’ka (The Distant Seen Up Close), her memoirs. As a writer, Strutin’ska was particularly skillful in portraying the fascinating characters that she en countered throughout her life. Her masterful profile of Dr. Okunevs’ka-Morachevs’ka, who studied medicine in Zurich and who became Western Ukraine’s first woman physician, exemplifies her proficiency in this genre. Oksana Kerch, Yaroslava Ostruk, and Maria Stru tyn’ska, all forced by circumstances beyond their con trol to leave the familiar and journey to the unknown, endured and survived. Their literary careers, spanning three continents and several turbulent decades of Ukrainian history, have touched generations of readers, both in Ukraine and in the diaspora. On Sunday, October 27, 1991, branch 90 of the Ukrainian Women’s League of America hosted a literary evening honoring the three writers, Philadelphia’s tribute to three women whose best and most creative literary works were produced in Philadelphia. Teofilia Melnychuk, a dedicated member of branch 90 of the UNWLA and an expert in Ukrainian handi crafts, read from Kerch’s Takiy Dovhiy Rik and from Ostruk’s Те Shcho Rozyednuye. Mrs. Melnychuk is an experienced reader who has previously participated in Marty Senyshyn and president Khrystyna Demiantschuk draw ing winning raffle tickets. similar literary tributes to Ukrainian writers. Lidia Lukia- novych Melnyk, the daughter of branch 90 member Natalia Lukianovych and the late Filaret Lukianovych, read from Kerch’s Albatross and from Ostruk’s Koly Merknut’ Zori. Mrs. Melnyk is a graduate of Temple Uni versity, of the Ukrainian Ridna Shkola and of the Ukrain ian Studies summer program at Harvard University. Reading, Yaroslava Ostruk’s novella “Maty і Dochka” and Maria Strutyns’ska’s profile of Dr. Okunevs’ka-Mo- rachevsk’a was Marta Senyshyn, whose faintly accented Ukrainin was a charming note and whose impassioned interpretation of the selections she had been chosen to read were a delight. A native of Uraguay, Ms. Senyshyn was an active member of the youth organization Plast; to attend Plast meetings, she “commuted” by airplane or ten-hour bus rides to Argentina. She is presently a pre-med student at La Salle University. Included in the program was a musical interlude. Violin-cellist Larissa Bayramova, who was acclaimed as cellist laureate in the Soviet Union before she emigrated from Kiev, was accompanied by pianist Leslie Spotz. Cellist Larissa Bayramova. At the piano Leslie Spotz. “НАШЕ ЖИТТЯ”, СІЧЕНЬ 1992 19
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