CHORNOBYL AS TEXT IN THE WORKS BY MARKIIAN KAMYSH

Abstract

Focused on the works “Oformliandiia”, “Scrap metal” (“Chormet”), and “Duckweed” (“Riaska”) by the modern Ukrainian writer Markiian Kamysh, the paper clarifies the peculiarities of the literary representation of the Chornobyl disaster at various levels of the fictional text, such as narratological, pictorial, thematic, and architectonic. While each work has its distinct structure, hero type, and set of issues, they all share a common thread of characters being involved in the exclusion zone. Kamysh takes a bold approach to developing the Chornobyl theme, emphasizing the dark aspects of life in the zone, the complex existential process of self-understanding, and long-term stays in the zone as a way to alleviate pain and talk effectively about trauma. Every visit to the exclusion zone is an important event in the inner life of the characters. The confessional nature of the narrative, reflections on the exclusion zone as a territory for self-understanding, self-therapy, relief from trauma, and therefore general spiritual healing, allow for “Oformliandia” to be considered an alternative existential post-traumatic text within the modern Ukrainian nuclear discourse. M. Kamysh emphasizes that staying in the exclusion territory opens opportunities for the hero of “Oformliandia” to deeper understand his belonging to the country, its history, traditions, and the emerging culture of ties with the zone. In the form of fiction, the writer illustrates the impact of the accident on the morals and values of the whole society and a particular person and offers his recipe for life after the Chornobyl accident and with the Chornobyl tragedy. The narrator-witness from “Oformliandia” is the author’s alter ego; this fact increases the degree of emotionality and truthfulness of the presented fictional material. Through his works “Oformliandiia”, “Chormet”, and “Riaska”, M. Kamysh marked a new direction for the understanding of the Chornobyl theme in Ukrainian literature in the 21st century.