Meridian Odesa Festival: Ukrainian literary showcase in a city poised for cultural revival

09.11.2023

Les Beley

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The Meridian Odesa poetry readings, held in Odesa from November 3-5, took on a new significance this year. Amidst a full-scale invasion and persistent Russian attacks on the city, organizing this literary event posed a considerable challenge. Discover how it unfolded in Chytomo’s detailed reportage.

Presence in the South

Since the early 2000s, Odesa’s Ukrainian literary scene has been somewhat of an anomaly. Events in this large city were infrequent and attracted modest audiences. However, post-Revolution of Dignity, a gradual shift occurred, driven by activists rather than state institutions. The International Literature Festival Odesa, running for eight years, began drawing participants from within Ukraine and beyond, while the Green Wave book festival gradually reduced its Russian invitees. Additionally, various venues like the Odesa Academic Ukrainian Music and Drama Theatre named after V. Vasylko, the open-air Green Theatre, city libraries, and the heart of Odesa’s literary world, the Zapashna Knyzhka (Fragrant Book) coffee shop, hosted events. Some of these gatherings attracted large crowds.

The team behind the Meridian festival was determined to transform Odesa’s literary landscape. Festival director Evgenia Lopata reflects on this ambition:

“It was disheartening to see Ukrainian literature so underappreciated in a city where it should be thriving.”

The importance of a proper presence of Ukrainian culture in the South of the country only became evident to state institutions after Russia targeted these territories at the start of the full-scale invasion.

Readings under the risk of missile strike

Twenty-four events were held over the three days of Meridian Odesa festival. The program, although titled “poetry readings,” included a variety of literary forms such as prose and nonfiction book presentations, interviews with authors, and an event commemorating Oleksandr Rojtburd, a participant of the Ukrainian New Wave and co-founder of the Ukrainian Transavantgard theory.

Attendees in Odesa had the chance to engage with works from prominent Ukrainian writers such as novelist Taras Prokhasko, poet Serhiy Zhadan, author and publisher Ivan Malkovych, writer and director Iryna Tsilyk, poet Halyna Kruk, writer Andriy Lyubka, and writer and soldier Anatoliy Dnistrovyi, among others.

Several authors, including writer and journalist Artem Chekh and Ukrainian poet and military medic Yaryna (Yara) Chornohuz, who have enlisted in the Ukrainian army, were unable to attend in person. However, they participated via video link, with Yaryna connecting directly from the front line.

When the air raid alert went off, the audience proceeded to the shelter. The author and moderator of the presentation moved to a special room, continuing the live stream, while the audience went to the basement. There, an exhibition of paintings by Ukrainian artists, from the collection of public figure and businessman Svyatoslav Pomerantsev, was displayed. These artworks are notably used for the covers of his publishing house’s books.

The first day of the festival proceeded without air raid alerts. However, during the following two days, both participants and the audience were required to seek safety in the bomb shelter. On Sunday, Nov. 5, a missile was fired at Chornomorsk, and later that evening, at the festival’s conclusion, Odesa itself was targeted.

The organizers of the festival noted that while the number of attendees was almost half of those who registered, the concert hall was far from empty. Each event saw the presence of several dozens to hundreds of visitors. The most attended events included the evening dedicated to the memory of Oleksandr Rojtburd and the poetry performance by Serhiy Zhadan.

The audience predominantly consisted of young people, clearly drawn to the festival to see authors whose works they were familiar with and admired. Many were seen capturing videos on their phones, recording the authors performing their favorite texts.

Levels of drawing together

Festival participants brought varying degrees of war experience. Some had firsthand experience at the front, while others resided in closer or farther rear territories. Among them were active army members, individuals with family in the military, and some who had yet to encounter the war closely. This spectrum of experiences was evident in their texts and the way authors discussed life and daily existence.

As several participants pointed out, poetry is often the first medium to react to shifts in reality. The audience was immersed in the distinct styles of the poets: Halyna Kruk’s thoughtful verse, Yaryna Chornohuz’s philosophical yet grounded approach, Oleh Kadanov’s tension and expressiveness, Anatoliy Dnistrovyi’s clarity and transparency, Iryna Tsilyk’s sharpness and elegance, and Serhiy Zhadan’s noir romanticism.

The festival’s conversations extended beyond literary texts, delving into the potential impact of the war on Ukrainian culture. In these discussions, authors often referenced the Balkans, noting how the region’s culture gained global recognition through the war, yet simultaneously became synonymous with the concept of “Balkans = war.”

The topic of Odesa’s identity and the potential for displacing the prevalent Russian myth was also a point of discussion. Ukrainian journalist Sonya Koshkina posed a question to Ihor Pomerantsev about this issue. In response, Pomerantsev joked that if he had a solution, he would consider running for the position of mayor of Odesa.

The festival’s program included events that highlighted Odesa’s local talent and legacy. These included sessions featuring city residents such as author, poet, and soldier Valeriy Puzik, journalist and poet Tetyana Mylymko, and volunteer and activist Yevgenia Zavaliy. Additionally, there was a special evening dedicated to the late artist Oleksandr Roitburd, who played a pivotal role in transforming the Odesa Art Museum into a city landmark.

At the end of the poetry readings, Russia joined the program with its old tricks: a missile strike near the Odesa Art Museum disrupted the evening hosted by Tetyana Mylymko.

Odesa not Odessa

In his interview with Roman Kravets, Valeriy Puzik remarked on the systematic “burning out” of Ukrainian culture in the city. He observed that, despite the full-scale invasion, Russia persists in promoting the discourse of a Russian Odesa tied to Pushkin and the notorious local figure Mishka Yaponchik. When Roman inquired about what could supplant this myth, Puzik’s response was straightforward: the Armed Forces of Ukraine. This elicited a burst of applause from the audience.

The process of reclaiming Ukrainian positions in multicultural Odesa might be gradual, but progress is evident. Initially, Ukrainian culture was marginalized, perceived almost as a “sectarian” element. Post-2014, even state institutions seemed indifferent to promoting it. Despite this, local cultural activists consistently organized events showcasing prominent Ukrainian writers like Serhiy Zhadan, Yuri Andrukhovych, Oksana Zabuzhko, among others. Ukrainian literature consistently featured in the International Odesa Literary Festival and the Green Wave Festival. By 2022, a significant shift occurred: the war catalyzed a burgeoning interest in Ukrainian culture, noticeable not only in Odesa but across various Ukrainian cities.

Meridian Odesa festival took place in the city. It was fully in Ukrainian and with top authors, and with a small presence of participants from Odesa itself. Given the festival’s success, it’s likely that the city will soon host more events of this nature. In the future, it’s conceivable that a festival originating from Ukrainian Odesa could even make its way to Chernivtsi.

This article is part of the “Chytomo spotlights: Ukrainian culture on and after frontline” project. The project is supported by Goethe-Institut in terms of the Stabilization Fund project.