In Ukraine, War, Love, Olena Stiazhkina depicts day-to-day developments in and around her beloved hometown Donetsk during Russia's 2014 invasion and occupation of the Ukrainian city. An award-winning fiction writer, Stiazhkina chronicles an increasingly harrowing series of events with sarcasm, anger, humor, and love.

The diary opens on March 2, 2014, as the first wave of pro-Russian protest washes over eastern Ukraine in the wake of Euromaidan, the Revolution of Dignity, and it closes on August 18, 2014, the day a convoy of civilian Ukrainian refugees is deliberately slaughtered by Russian forces. Early on, Stiazhkina is captured by pro-Russian forces while she browses for books but is freed when one of her captors turns out to be a former student. Vignettes from her personal life intermingle with current events, and she examines ordinary people in extraordinary circumstances. We walk with local dogs and their owners; we meet a formidable apartment building manager who shames occupiers and dismantles their artillery from the roof of her building; we follow a family evacuated to Kyiv whose young son builds checkpoints out of Legos. Olena Stiazhkina's Ukraine, War, Love: A Donetsk Diary is a fierce love letter to her country, her city, and her people.

In Ukraine, War, Love, Olena Stiazhkina depicts day-to-day developments in and around her beloved hometown Donetsk during Russia's 2014 invasion and occupation of the Ukrainian city. An award-winning fiction writer, Stiazhkina chronicles an increasingly harrowing series of events with sarcasm, anger, humor, and love.

The diary opens on March 2, 2014, as the first wave of pro-Russian protest washes over eastern Ukraine in the wake of Euromaidan, the Revolution of Dignity, and it closes on August 18, 2014, the day a convoy of civilian Ukrainian refugees is deliberately slaughtered by Russian forces. Early on, Stiazhkina is captured by pro-Russian forces while she browses for books but is freed when one of her captors turns out to be a former student. Vignettes from her personal life intermingle with current events, and she examines ordinary people in extraordinary circumstances. We walk with local dogs and their owners; we meet a formidable apartment building manager who shames occupiers and dismantles their artillery from the roof of her building; we follow a family evacuated to Kyiv whose young son builds checkpoints out of Legos. Olena Stiazhkina's Ukraine, War, Love: A Donetsk Diary is a fierce love letter to her country, her city, and her people.

Finalist, 2024 PEN Translation Prize

In The Torture Camp on Paradise Street, Ukrainian journalist and writer Stanislav Aseyev details his experience as a prisoner from 2015 to 2017 in a modern-day concentration camp overseen by the Federal Security Bureau of the Russian Federation (FSB) in the Russian-controlled city of Donetsk. This memoir recounts an endless ordeal of psychological and physical abuse, including torture and rape, inflicted upon the author and his fellow inmates over the course of nearly three years of illegal incarceration spent largely in the prison called Izoliatsiia (Isolation). Aseyev also reflects on how a human can survive such atrocities and reenter the world to share his story.

Since February 2022, numerous cases of illegal detainment and extreme mistreatment have been reported in the Ukrainian towns and villages occupied by Russian forces during the full-scale invasion. These and other war crimes committed by Russian troops speak to the horrors wreaked upon Ukrainians forced to live in Russian-occupied zones. It is important to remember, however, that the torture and killing of Ukrainians by Russian security and military forces began long before 2022. Rendered deftly into English, Aseyev's compelling account offers a critical insight into the operations of Russian forces in the occupied territories of Ukraine.

Brothers Anton and Tolik reunite at their family home to bury their recently deceased mother. An otherwise natural ritual unfolds under extraordinary circumstances: their house is on the front line of a war ignited by Russian-backed separatists in eastern Ukraine. Isolated without power or running water, the brothers' best hope for success and survival lies in the declared cease fire--the harvest truce. But such hopes are swiftly dashed, as it becomes apparent that the conflagration of war will not abate.

With echoes of Waiting for Godot, Serhiy Zhadan's A Harvest Truce stages a tragicomedy in which the commonplace experiences of death, birth, and the cycles of life marked by the practices of growing and harvesting food are rendered futile and farcical in the wake of the indifferent juggernaut of war.

Cassandra, the daughter of King Priam of Troy, is cursed with the gift of true prophecies that are not believed by anyone. She foretells the city's fall should Paris bring Helen as his wife, as well as the death of several of Troy's heroes and her family. The classic myth turns into much more in Lesia Ukrainka's rendering: Cassandra's prophecies are uttered in highly poetic language--fitting for the genre of the work--and are not believed for that reason, rather than because of Apollo's curse. Cassandra as poet and as woman are the focal points of the drama.

Cassandra: A Dramatic Poem encapsulates the complexities of Ukrainka's late works: use of classical mythology and her intertextual practice; intense focus on issues of colonialism and cultural subjugation--and allegorical reading of the asymmetric relationship of Ukrainian and Russian culture; a sharp commentary on patriarchy and the subjugation of women; and the dilemma of the writer-seer who knows the truth and its ominous implications but is powerless to impart that to contemporaries and countrymen.

This strongly autobiographical work commanded a significant critical reception in Ukraine and projects Ukrainka into the new Ukrainian cultural canon. Presented here in a contemporary and sophisticated English translation attuned to psychological nuance, it is sure to attract the attention of the modern-day reader.

In 1986 Soviet Ukraine, two boys and two girls are welcomed into the world in a Donetsk maternity ward. Following a Soviet tradition of naming things after prominent Communist leaders from far away, a local party functionary offers great material benefits for naming children after Ernst Thälmann, the leader of the German Communist Party from 1925 to 1933. The fateful decision is made, and the local newspaper presents the newly born Ernsts and Thälmas in a photo on the front page, forever tying four families together.

In Cecil the Lion Had to Die, Olena Stiazhkina follows these families through radical transformations when the Soviet Union unexpectedly implodes, independent Ukraine emerges, and neoimperial Russia occupies Ukraine's Crimea and parts of the Donbas. Just as Stiazhkina's decision to transition to writing in Ukrainian as part of her civic stance--performed in this book that begins in Russian and ends in Ukrainian--the stark choices of family members take them in different directions, presenting a multifaceted and nuanced Donbas.

A tour de force of stylistic registers, intertwining stories, and ironic voices, this novel is a must-read for those who seek deeper understanding of how Ukrainian history and local identity shapes war with Russia.

Earth Gods presents the early writings of Taras Prokhasko, one of Ukraine's most prominent contemporary writers. Collected here for the first time in one book, these works span various genres yet form a single chronicle. Anna's Other Days, Prokhasko's first publication, testifies to the desire to free Ukrainian culture of overt influences of voices, styles, and genres that have dominated it for centuries. FM Galicia collects reflections delivered by the author at a Ukrainian radio show over a five-month period. Emphasizing the relevance of the oral genre as the origin of the text, Prokhasko has created a unique diary that strives to exist outside of literature and invites the reader to meditate on the human condition. The UnSimple--a novel whose action unfolds between the two world wars near Ialivets, in the Ukrainian Carpathian Mountains--documents the collapse of the grand narratives of the past, embodied here by the Carpathian earth gods who, despite their magical powers, are unable to save the patriarchal community they've been entrusted with from being overrun by the forces of modernization.

A master of reflexive, finely nuanced prose, Prokhasko weaves together narrative strands testifying to the sophistication and integration of Ukrainian culture with the world.

Finalist, 2024 PEN Translation Prize

In The Torture Camp on Paradise Street, Ukrainian journalist and writer Stanislav Aseyev details his experience as a prisoner from 2015 to 2017 in a modern-day concentration camp overseen by the Federal Security Bureau of the Russian Federation (FSB) in the Russian-controlled city of Donetsk. This memoir recounts an endless ordeal of psychological and physical abuse, including torture and rape, inflicted upon the author and his fellow inmates over the course of nearly three years of illegal incarceration spent largely in the prison called Izoliatsiia (Isolation). Aseyev also reflects on how a human can survive such atrocities and reenter the world to share his story.

Since February 2022, numerous cases of illegal detainment and extreme mistreatment have been reported in the Ukrainian towns and villages occupied by Russian forces during the full-scale invasion. These and other war crimes committed by Russian troops speak to the horrors wreaked upon Ukrainians forced to live in Russian-occupied zones. It is important to remember, however, that the torture and killing of Ukrainians by Russian security and military forces began long before 2022. Rendered deftly into English, Aseyev's compelling account offers a critical insight into the operations of Russian forces in the occupied territories of Ukraine.

The Length of Days: An Urban Ballad is set mostly in the composite Donbas city of Z--an uncanny foretelling of what this letter has come to symbolize since February 24, 2022, when Russia launched a full-scale invasion of Ukraine. Several embedded narratives attributed to an alcoholic chemist-turned-massage therapist give insight into the funny, ironic, or tragic lives of people who remained in the occupied Donbas after Russia's initial aggression in 2014.

With elements of magical realism, Volodymyr Rafeyenko's novel combines a wicked sense of humor with political analysis, philosophy, poetry, and moral interrogation. Witty references to popular culture--Ukrainian and European--underline the international and transnational aspects of Ukrainian literature. The novel ends on the hopeful note that even death cannot have the final word: the resilient inhabitants of Z grow in power through reincarnation.

Italian doctor Leonardo Pazzi and Alcesta, his future lover, travel through the picturesque, hilly region of Sloboda, near Kharkiv in northeast Ukraine. They experience a series of encounters with local Ukrainians and nature, disappearances, and transformations filled with paradoxes. The characters are bright, marionette-like caricatures whom the author constructs and moves ostentatiously in full view of the reader, revealing his artistic devices with a sense of absurd, mischievous humor.

A novel of exuberance and whim that deconstructs the very principles of writing and estranges everyday phenomena, Dr. Leonardo's Journey marks the highpoint of Ukrainian modernism right before it was violently cut down by Stalin's repressions. The novel shifts away from character or plot as such and instead celebrates the places and spaces in which these things come into being, and the sheer joy of movement and experience. In this sense, Maik Yohansen's heroes echo Mykola Hohol, whose tour through Russia's vast spaces in Nikolai Gogol's Dead Souls is an obvious reference point, and Laurence Sterne, whose irreverent narrative style and textual games Yohansen emulates. Presented here in a contemporary, deft English translation, the novel is a must read for everyone interested in discovering the rich heritage of Ukrainian modernism.

The Frontline presents a selection of essays drawn together for the first time to form a companion volume to Serhii Plokhy's The Gates of Europe and Chernobyl. Here he expands upon his analysis in earlier works of key events in Ukrainian history, including Ukraine's complex relations with Russia and the West, the burden of tragedies such as the Holodomor and World War II, the impact of the Chernobyl nuclear disaster, and Ukraine's contribution to the collapse of the Soviet Union.

Juxtaposing Ukraine's history to the contemporary politics of memory, this volume provides a multidimensional image of a country that continues to make headlines around the world. Eloquent in style and comprehensive in approach, the essays collected here reveal the roots of the ongoing political, cultural, and military conflict in Ukraine, the largest country in Europe.