In Eastern Europe and Eurasia, LGBT+ individuals face repression by state forces and non-state actors who attempt to reinforce their vision of traditional social values. Decolonizing Queer Experience moves beyond discourses of oppression and repression to explore the resistance and resilience of LGBT+ communities who are remaking the post-socialist world; they refuse domination from local heteronormative expectations and from global LGBT+ movements that create and suggest limitations on possible LGBT+ futures. The chapters in this collection feature a multiplicity of LGBT+ voices, suggesting that no single narrative of LGBT+ experience in post-socialism is more representative or informative than another. This collection highlights the globally flexible, infinitely malleable notion of LGBT+ that counters Western hegemony in queer activism and communities.

Since the end of state socialism and the unifying efforts of the Soviet Union, questions about LGBT+ have gained increasing attention among scholars of various disciplines. In the region of Eastern Europe and Eurasia, LGBT+ individuals face repression by state forces, as well as by non-state actors attempting to reinforce their vision of traditional social values. Understanding this context, Decolonizing Queer Experience moves beyond discourses of oppression and repression to explore the resistance and resilience of LGBT+ communities that are remaking the post-socialist world in ways that refuse domination from their own, local heteronormative expectations as well as those imposed from global LGBT+ movements that also create and suggest limitations on possible LGBT+ futures. These chapters reflect a multiplicity of voices that fall into a broad community of LGBT+ people, suggesting that no single narrative of LGBT+ experience in post-socialism is more representative or informative than another. These chapters are evidence of a globally flexible, infinitely malleable notion of LGBT+ that counters Western hegemony in queer activism and communities.

The Winter King by Ostap Slyvynsky presents a selection from a decade and a half worth of work by one of Ukraine's most prominent contemporary voices in poetry. Slyvynsky is the poet of everyday things. He writes of children's games, old trees, and family stories. Yet, what emerges from under his pen is a portrait of an era. His writing, simultaneously delicate and unflinchingly incisive, like a surgeon's hand, always probes for the bottomless depths gaping behind the mundane. Perhaps the greatest of Slyvynsky's gifts as a poet is his ability to examine individual voices and memories for traces of larger historical events without ever trivializing the former in the face of the latter. His spare, lean poems unearth a complex and layered human reality that is both universal and strikingly, almost painfully rooted in the landscape that birthed it, be it the poet's family home in the Carpathian mountains or the Maidan square in Kyiv, aflame with revolution. Slyvynsky's remarkable attention to detail results in strikingly beautiful and enigmatic texts that invite multiple re-readings, each peeling off yet another layer of reality. However, what always remains at the core after these layers are stripped off is the poet's profound humanity. Drawing on three of Slyvynsky's earlier poetry collections, this volume also includes some of his most recent poems--arguably, among the poet's best.

Fiction. Eastern European Studies. Translated from the Ukrainian by Vitaly Chernetsky. "The literary dormitory at Moscow University becomes a kind of Russian Grand Hotel, serving the last supper of empire to a host of writers gathered from every corner of the continent, and beyond. Young poets from Vietnam, Mongolia, Yakutia, Uzbekistan, Russia, and Ukraine assemble to study, drink, frolic, and explore each other and the decaying city around them. When the supper turns into a bacchanal, who's surprised? 'The empire betrayed its drunks. And thus doomed itself to disintegration.' Part howl, part literary slapstick, part joyful dirge, charged with the brashness of youth, betraying the vision of the permanent outsider, Andrukhovych's novel suggests that literature really is news that stays news. Funny, buoyant, flamboyant, ground-breaking, and as revelatory today as when it was first published in Ukrainian, THE MOSCOVIAD remains a literary milestone. In spirit and intellectual brio Andrukhovych, whose irreverence makes Borat seem pious, is kin to the great Halldor Laxness and the venerable David Foster Wallace"--Askold Melnyczuk.

Yuri Andrukhovych emerged as a prominent voice in Ukrainian literature with the publication of his first book of poems in 1985. The same year, together with Oleksandr Irvanets and Viktor Neborak, he formed the poetic group Bu-ba-bu, which became a leading force in Ukrainian poetic innovation for nearly a decade. After publishing only prose for a number of years, Andrukhovych returned to poetry in great form but with a much-changed poetics in 2004, with the publication of another collection. A comprehensive selection of his poetry from the 1980s-1990s, titled Lysty v Ukrainu (Letters to Ukraine), came out in 2013; in it, Andrukhovych revisited and revised several of those texts. This book traces the evolution of his poetics from the 1980s onward.