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w a s re c e iv e d . D a c h a s w e re lim it e d to a set s iz e and c o u ld n o t be tw o s to rie s h ig h — an in te r d ic t d a tin g to S t a lin is t m e a su re s a g a in s t c o n s p ic u o u s c o n s u m p tio n . T h is d a c h a a ls o h a d an a d v a n ta g e b y h a v in g a w a te r sp o u t n e a rb y. T h e d a c h a se ttle m e n t b e lo n g e d to the c a n d y m a k e rs p r o f e s s io n a l u n io n , a n d its h o u se s w e re n e a tly sp a c e d in a c h e c k e r b o a r d . T r y in g to u n lo a d the d a ch a w a s a m a jo r h a ssle . In the w in t e r it w a s ta ken o v e r b y a h o m e le s s m an , a n d in the su m m e rs, teenagers tr ie d to p a r ty in it. A t le a st that w a y the d a c h a se rv e d s o m e s o c ia lly r e d e e m in g fu n c tio n . W e f i n a ll y g a v e it a w a y . M u c h has c h a n g e d s in c e that tim e . T h e sy ste m o f ap a rtm e n t tra n s fe r c h a n g e d r a d ic a lly . N o w p e o p le b u y and s e ll a p a rtm e n ts; th e y d o no t, as p r e v io u s ly , trade them . M o r e o f th e m are in d r a m a t ic a lly better shape. A n d th ere are n o sh o rta g es, e ith e r in b u ild in g m a te ria ls, o r fu r n itu r e , e ith e r U k r a in ia n o r im p o rte d . T h e re are n o w m o v in g c o m p a n ie s w h ic h w i l l p a c k , tra n sp o rt a n d u n p a c k y o u r b e lo n g in g s . T h e n a tu re o f c o m p la in t s has a ls o c h a n g e d d r a m a t ic a lly . T h e c o u n t r y is n o lo n g e r a c o u n try o f sca rce g o o d s, b u t th ere are m a n y p e o p le w h o la c k m o n e y f o r the d e lu g e o f a v a ila b le g o o d s. A s f o r m y m o v in g , I w i l l n o lo n g e r w o r r y a b o u t b r e a k in g a g la ss , be ca u se there is no lo n g e r a n y n ee d to d r in k fr o m ja rs . P a c k e r s c a m e o n tim e , s ix o f them , w it h p a c k in g b o x e s s a lv a g e d fr o m a sso rte d stores, an e x a m p le o f a b u s in e s s w it h z e ro in v e stm e n t. T h e y w ere f o llo w e d b y the m o v e r s w h o h a d a tru c k a n d a stro n g b a c k s to c a r r y the h e a v y S o v ie t fu r n itu r e d o w n fo u r f lig h t s o f step s a n d u p th irte e n . W e m o v e d b e ca u se o f the a v a il a b i li t y o f tw o e le v a to rs , b u t the e le v a to rs c a n n o t b e u sed f o r h a u lin g stu ff. T h e s o c ie ty s t ill saves m a c h in e s a n d d is p e n s e s w it h h u m a n safety. N o t h in g w a s lo s t in the m o v e ; o n ly one m a r tin i g la s s w a s b ro k e n , m o s t l i k e l y as I w a s u n p a c k in g it. N o w I a m s u rro u n d e d b y b o x e s , w h ic h the m o v e rs w o u ld h a v e u n p a c k e d h a d I k n o w n w h e re to p u t a ll the s t u f f a c q u ir e d th ro u g h the y ears. I f o u n d the la p top . I w o u ld ra th e r w r it e th an d e a l w it h u n p a c k in g . I see a ll o f K y i v fr o m m y w in d o w , the d o m e s o f St. S o p h ia a n d o f St. M ic h a e l, b u t the t a ll c h im n e y o f the A r s e n a l f a c t o r y d iv id e s th e m , b e lc h in g w h it is h s m o k e in to the g r a y s k y . D e s p it e the ra in , the g o ld e n d o m e s o f c h u r c h e s g lis te n , s t e a d ily t r y in g to d im in is h the gra y n e ss. T h e r e are m a rc h e rs w it h re d fla g s , b u t th ey are o ld , a n d th e y h a v e to d e m o n s tra te in fro n t o f b u ild in g s that sp o rt the b lu e a n d y e llo w . T h e w o rk e r s do n o t j o i n in . T h e y are w o r k in g f o r th e m s e lv e s . Olha Kobylianska, Yevhenia Yaroshynska. B u t ... The Lord is Silent: Women's Voices in Ukrainian Lite rature. Volume 3. Roma Franko, tr. Sonia Morris, ed. Saskatoon, Sasakatchewan. Language Lanterns. 1999. 470pages. ISBN 0-9683899-2-9. A review by Marta Tarnawsky O lh a K o b y lia n s k a ( 1 8 6 3 -1 9 4 2 ) has an a ssured p la c e a m o n g the c la s s ic s o f U k r a in ia n lite ra tu re . W h a t is s u rp ris in g , h o w e v e r, is the re c e n t r e v iv a l o f c r it ic a l in te re st in h e r w o rk . T h e r e w a s a separate se ssio n d e v o te d to K o b y lia n s k a at the M a y 2 0 0 0 m e e tin g o f the C a n a d ia n A s s o c ia t io n o f S la v is t s in E d m o n to n ; a t ra n s la tio n o f o n e o f K o b y lia n s k a 's n o v e ls is a b o u t to be is s u e d b y the C a n a d ia n In stitu te o f U k r a in ia n S tu d ie s ; a g ra d u a te stu d en t in A u s t r a lia is w r it in g a d o c to ra l d is s e r ta tio n a b o u t her; a se rie s o f n e w b io g r a p h ic a l a n d c r it ic a l a r tic le s h a v e a p p e a re d in U k r a in e ; an d the f ir s t D a n y lo S t r u k M e m o r ia l L e c tu r e in T o r o n t o w a s a ls o a re a p p ra is a l o f K o b y lia n s k a 's w o rk . It is g r a t if y in g , th e re fo re , tha t L a n g u a g e L a n te rn s has d e v o te d o v e r three h u n d re d p a g e s in its th ir d v o lu m e o f W o m e n 's V o i c e s in U k r a in ia n L it e r a tu r e to K o b y lia n s k a 's sh o rt sto rie s. K o b y lia n s k a attra cts to d a y 's re a d e r b y h e r m o d e r n is m , h e r W e s t E u r o p e a n o r ie n ta tio n , h e r c le a r ly e x p re ss e d f e m in is t v ie w s . E n v ir o n m e n t a lis t s f in d h e r c o m m u n io n w it h a n d u n d e rs ta n d in g o f n ature s in g u la r ly a p p e a lin g an d o r ig in a l; h e r n a t u r a lis t ic w a r sk e tc h e s are a p p re c ia te d b y a n t iw a r a d v o c a te s; h e r ic o n o c la s t ic in d iv id u a lis m is a p le a s a n t s u rp ris e to rea d e rs a c c u s to m e d to e x p e c t s o c ia lis t (o r n a tio n a lis t) r e a lis m , w h ic h h a d be en d o m in a n t in U k r a in ia n lite ra tu re . K o b y lia n s k a is a s e rio u s w r it e r w h o attem pts to u n d e rsta n d the c o m p le x it ie s o f h u m a n nature; h e r p o rtra its are n e v e r s im p le stu d ie s in b la c k a n d w h ite . S h e is e s p e c ia lly fa s c in a te d b y the d ile m m a o f a m an 's, o r m o re fr e q u e n tly , a w o m e n 's c h o ic e b e tw e e n in d iv id u a l fr e e d o m a n d h is o r h e r s o c ia l in s tin c ts ; she str iv e s to w a r d h a r m o n y a n d id e a l b e a u ty , a w a y fr o m the v u lg a r m a sses, a n d y e t she r e c o g n iz e s the stro n g tie s that b in d us to o u r f e llo w m e n. But ... The Lord Is Silent c o n ta in s t h ir t y - f o u r sh o rt s to rie s b y K o b y lia n s k a , w ritt e n b e tw e e n 1888 an d 19 27 a n d a rra n g e d in c h r o n o lo g ic a l o rd e r. O n e c o u ld a rg u e w it h the s e le c t io n o f the s to rie s and e s p e c ia lly w it h the ra th e r a w k w a r d t it le f o r the b o o k (b a se d o n o n e o f the s to rie s in c lu d e d ) . R o m a F r a n k o 's tra n s la tio n s , h o w e v e r , in so m e ca ses re a d b e tte r than the o r ig in a l: K o b y l ia n s k a w ro te in the B u k o v y n ia n v a ria n t o f n in e te e n th -c e n tu ry U k r a in ia n , w h ic h m a y BOOKS
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