Anthology of Ukrainian Gothic Prose. Volume 1 — Yurii Vynnychuk

The Phenomenon of the First Volume of the *Anthology of Ukrainian Gothic Prose*The first volume of the *Anthology of Ukrainian Gothic Prose*, edited by Yuriy Vynnychuk, is not merely a collection of short stories, but a true intellectual restoration. For decades, Soviet censorship attempted to portray 19th-century Ukrainian literature as purely “peasant,” “domestic,” and “socially oriented.” This anthology shatters that myth, revealing to us a Ukraine that is mystical, fantastical, and European-style Gothic.
1. Temporal and Ideological SpaceThe first volume spans a vast period of time: from the genre’s origins in early Ukrainian literature (the Baroque) to the mid-19th century. This is the period when folkloric fears began to transform into professional literature.
While in the Western tradition, Gothic means castles, dungeons, and aristocrats, the Ukrainian Gothic of the first volume is the “Gothic of the steppe and the farmstead.” Its horror is diffused throughout nature: in the rustling of reeds, in abandoned mills, in deep ravines, and on nighttime roads. It is a world where the line between “this” world and “that” world is so thin that an evil spirit can come to your dinner table, pretending to be a distant relative. 2. Genesis: From Baroque Parables to RomanticismThe first volume is logically divided into stages of the genre’s development.
Baroque RootsThe volume begins with texts that demonstrate a religious perception of horror. Didacticism prevails here: mysticism serves to illustrate the power of sin and the inevitability of punishment. These are stories about:
Postmortem Torments: the dead who find no rest due to unatoned sins.
Diabolical Temptations: where evil is not yet romanticized, but appears as a repulsive and dangerous enemy of the human soul.
The Age of RomanticismThis is the “golden age” of the first volume. Romantic writers (O. Somov, N. Gogol, H. Kvitka-Osnovyanenko) began to use folk beliefs not for moralizing, but to create atmosphere. Horror becomes an aesthetic category. The reader is meant to feel a “pleasant thrill” from encountering the unknown. 3. Key Figures: Masters of Ukrainian HorrorOrest Somov: The Ukrainian Washington IrvingSomov is one of the brightest stars of this volume. He was among the first to realize that Ukrainian demonology is a goldmine for literature. His works (“Kyiv Witches,” “The Mermaid”) established the canons of the genre. He describes Kyiv as a mystical center where a secret may lurk under every threshold, and Lysa Hora is a real place of power. His Gothic style is light and dynamic, yet rich with authentic ethnographic material.
Oleksa Storozhenko: The King of the BizarreStorozhenko is a master who knew how to combine Cossack humor with chilling horror. In the first volume, he emerges as the chief interpreter of “Cossack mysticism.” His heroes are “kharakters”—warriors who know secret words and can stand up to demons. Yet even they are powerless before the force of fate. His works (“The Treasure,” “The Fool”) show that every supernatural knowledge or wealth comes at an exorbitant price.
Nikolai Gogol: Return HomeThe inclusion of Gogol in the anthology (in Ukrainian translations) is a pivotal moment. The editor emphasizes that “Viy” or “The Night Before Ivan Kupala” is a Ukrainian tradition through and through. Gogol’s Gothic in the first volume represents the pinnacle of horror visualization. His images—the young lady in the coffin, Basavryuk, the red cloak—have become archetypes that have been referenced for over a century. 4. Recurring Images and SymbolismThe first volume establishes a whole system of Gothic symbols specific to our region:
A Cursed Place: This isn’t necessarily a castle ruin. It could be a “wasteland”—a place where a tragedy once occurred, and where no grass now grows. These are old mills (centers of magical activity, since millers were always considered somewhat like sorcerers) and crossroads.
The Witch: In the Ukrainian Gothic of the first volume, a witch is not just an evil old woman. She is often a beauty (as in Somov or Gogol), whose beauty is a trap. She embodies dangerous sexuality and the irrational power of nature.
The Devil as a Trickster: Unlike the Western Satan, our devil in the first volume is often petty and vengeful, but he can be outwitted (though this doesn’t always end well for the hero).
5. The Philosophy of Horror: Sin, Fate, and JusticeThe Ukrainian Gothic of the first volume is highly moralistic. At its core lies the idea of just punishment. If a hero makes a deal with the devil (like Petro in “The Evening Before Ivan Kupala”), he doesn’t just lose his life—he destroys his lineage. The sin of an ancestor falls upon descendants to the seventh generation—this is one of the collection’s darkest themes. The theme of fate is also strongly emphasized here. A person is often merely a pawn in the hands of higher powers. A hero may be a brave Cossack, but his saber is powerless against a “black word” or a curse.
6. Why is this volume revolutionary?The anthology, edited by Yuriy Vynnychuk, accomplished several critically important tasks:
Restoring forgotten names: Many of the authors featured in the volume (such as Stepan Savych or Hryhoriy Danilevsky) were known only to a narrow circle of philologists. Now they have become part of popular culture.
Decolonization: It proves that the mystical tradition in Ukraine was not borrowed from Russia or the West, but had its own powerful roots, from which Gogol and Bulgakov later drew inspiration.
Genre Diversity: The volume demonstrates that 19th-century Ukrainian prose was diverse—ranging from adventure novels with mystical elements to psychological sketches.
7. The Editor’s RoleYuriy Vynnychuk has done a tremendous job, not only selecting the texts but also adapting them for the modern reader. His commentary and foreword help readers understand the context of each era. He acts as a medium between the modern reader and those dark forces that inhabited the pages of books two hundred years ago.