Cover Image for Forest Song (Act 1)

Forest Song (Act 1)

trans. by Eriel Vitiaz
Special Issue 2 (August 2022)

The Neoromantic Forest Song (Lisova pisnia) is the most famous of Lesia Ukrainka’s poetic dramas, first published in 1912. The translator Eriel Vitiaz presents a selected passage about dreams drawing attention to the ability of the Forest Song’s heroine ‘to paint mesmerising pictures with words, pictures that show us glimpses of a different world where everything is more vibrant, more pronounced, and (in a way) more real’.

 

Lake, forest, rush were all asleep.
The willow creaked, ‘Sweet dreams, sweet dreams…’
And in my quiet sleep it seemed that all was white.
The world was made of cleanliness and light.
Clear diamonds glittered there on silver boughs,
And nameless grasses were all pale with flowers,
Like icy crystals, stars were falling, piling up in drifts,
And, dazzled by my winter gifts, I was asleep.
My breath was slow and deep,
And yet, my wandering thought
Wove crimson patterns in my mind and wrought
Blue fantasies with streaks of gold,
Unlike those summer dreams I had of old.

1912

 

Read in Ukrainian.

 

Image: Olena Kulchytska, Winter, 1911. Coloured linocut. Source: www.photo-lviv.in.ua


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Tanya Savchynska

Translator: Tanya SavchynskaTranslators

Tanya Savchynska is a literary translator working between Ukrainian and English. She holds an MA in Comparative Literature from Dartmouth College, where she studied on a Fulbright Scholarship. She was a 2019 resident at the Banff International Literary Translation Centre in Canada and a 2023 resident at the Art Omi Translation Lab in the US. Her writing and translations have appeared in The Los Angeles Review of Books, Asymptote, Apofenie, and elsewhere. Her translation of Kateryna Zarembo’s Ukrainian Sunrise: Stories of the Donetsk and Luhansk Regions from the Early 2000s was published by Academic Studies Press in 2024.

Martin Lohrer
Cover Image for Culture as Security

Culture as Security

Issue 5 (October 2025)

This issue of the London Ukrainian Review takes a look at culture as a matter of national security. Highlighting the voices of cultural figures who defend Ukraine with arms, it also examines culture as a tool of Russia’s imperialist expansion, all the while insisting on a bond between cultural familiarity and political solidarity.

Sasha Dovzhyk