The global interest in Ukraine, spurred by Russia's invasion, has shone a spotlight on Ukrainian culture - particularly literature. Ukrainian books are now garnering significant attention from foreign readers and publishers.
In 2022, rights to over 230 books by Ukrainian authors were sold internationally, double the number from 2021. Renowned authors like Serhii Zhadan, Oksana Zabuzhko, Yurii Andrukhovych, Andrii Kurkov, and Tetiana Maliarchuk
remain top choices for foreign audiences. At the same time, Ukrainian readers increasingly explore European literature, with works by Fredrik Backman, Carsten Duss, Sally Rooney, and others gaining popularity.
The Ukrainian Book Institute reports that in 2024, 80 new translations of Ukrainian books were made at state expense. Ukrainian publishers participated in 11 major international book fairs, including events in London, Frankfurt, Warsaw, and other European cities. This growing recognition of Ukrainian literature in the EU may seem like a recent development, but is it truly a new phenomenon?
In fact, Ukraine has long been engaged in literary exchange with countries that are now part of the EU. Let's trace the historical links and current trends that have shaped this cultural dialogue.
Mariia Shubchyk, head of communications and coordinator of literature and translation promotion projects at the Goethe-Institut in Ukraine, collaborates closely with the German book market.She is convinced that decolonial processes play an important role in the public interest in Ukrainian books.
"Today, we're seeing a significant rise in interest in Ukrainian literature as a vibrant, independent phenomenon with a dynamic book market, great potential, and many talented authors yet to be discovered in Germany. Decolonization efforts have played a key role in shifting perceptions - Ukrainian literature is no longer seen as 'small,' and its language, once considered minor, no longer deters publishers from engaging with Ukraine's literary scene," Shubchyk explains.
The connection between Ukrainian and European literature spans centuries. The first known printed book by a Ukrainian author, A Prognostic Assessment of the Current Year 1483 by Master Yurii Drohobych, was published in Rome on February 7, 1483, by Eucharius Silber's printing house.
In the XVII-XVIII centuries, Polish printing houses actively published works by Ukrainian authors, including nobles, bourgeoisie, and clergy. The Academy printing house in Trnava (modern-day Slovakia) even printed books specifically for Ukrainians living in Zakarpattia.
The XIX-XX centuries brought challenges as Ukraine came under the rule of two empires, which severely restricted book publishing. For instance, the famous almanac Rusalka Dnistrova
was banned from printing in Lviv and had to be published in Buda (modern Hungary) at the University of Pest's printing house.
In the Russian-controlled territories, oppressive measures like the Valuev Circular (banned some publications in Ukrainian) dealt a devastating blow to Ukrainian publishing, forcing it to concentrate in Galicia. The Ems Ukaz was even more restrictive, banning the use of the Ukrainian language in print. This led Ukrainian academic Mykhailo Drahomanov
to establish the Free Ukrainian Printing House in Geneva. This press produced works like the miniature Kobzar by Taras Shevchenko
and other books, which were smuggled into Ukraine to evade imperial censorship.
Ukrainian writers abroad not only continued publishing in their native language but also reached out to local audiences. For example, the renowned author Marko Vovchok
published fairy tales and short stories in a Parisian magazine, and her story Marusya (1875), adapted by French publisher Pierre-Jules Hetzel, gained popularity in France and beyond.
The 20th century saw an increase in Ukrainian authors abroad due to social upheavals. After the defeat of the Ukrainian Revolution in the 1920s, many poets relocated to the Czech Republic, forming the influential Prague School
.
"Many researchers believe migration to the West was a chance for Ukrainian writers to 'take out' and preserve ideas that had originated in Ukraine," explains Olena Romanenko.
World War II prompted another wave of migration. The Artistic Ukrainian Movement, an organization of Ukrainian writers, was active in post-war Germany. Munich became the centre of literary life, with 44 Ukrainian publishing houses operating after the war. Among their achievements was the first Ukrainian translation of George Orwell's Animal Farm, completed by Ihor Shevchenko, a future Harvard University professor, and published by Prometheus Publishing House.
"Writers who remained in Ukraine also managed to maintain ties with European cultural space, albeit under different circumstances. For instance, in 1968, Ukraine saw the publication of Pearls of World Poetry, a collection of European literary classics. The collection gained wide readership, demonstrating that "the USSR's 'iron curtain' may have weakened Ukraine's literary connections with Europe but never severed them," says Romanenko.
In the 1960s and 1980s, samvydav
(self-publishing) emerged as a powerful underground movement in response to Soviet restrictions on cultural life. Ukrainians secretly distributed banned works, including Ukrainian books and translations from other languages. This movement also included "tamvydav,"
: books were printed abroad and smuggled into the USSR.
Despite the dominance of socialist realism, Ukrainian writers stayed connected to European traditions. Their works reflect a wealth of European plots, genres, philosophical ideas, and aesthetic influences. However, the reverse - Ukrainian contributions influencing European literature - is less visible due to Russian cultural policies.
"The Russian Empire and the USSR prioritized Russian literature, promoting it globally while marginalizing Ukrainian works and fostering stereotypes that persist today," explains Olena Romanenko, Doctor of Philology. "This led to the perception that Ukrainian literature had little to offer the world. In reality, many themes and artistic techniques in Ukrainian works predated or coincided with European trends. For instance, this is evident in the works of novelist Valerian Pidmohylnyi, playwright Mykola Kulish, and poet Pavlo Tychyna."
Since gaining independence, Ukraine has had greater opportunities to showcase its literary talent on the global stage. However, writers and publishers still require support to realize this potential fully.
To sustain the growing interest in Ukraine, we need systematic efforts across all levels: expanding translation programs, maintaining visibility on public platforms, fostering publisher collaboration, and building personal networks,
says Maria Shubchyk.
Today, both Ukraine and the EU are trying to strengthen their ties in the book industry. This is facilitated by the fact that many European writers have supported Ukraine in its fight against Russia. Nobel Prize winners Herta Müller and Elfriede Jelinek, French novelist Frédéric Begbeder, and others have condemned Russia's invasion in their speeches and public statements. This strong support from the literary community in Europe affirms Ukraine's place in the global cultural landscape.
Special programmes help Ukrainians and EU citizens strengthen mutual cultural ties. They enable EU readers to discover Ukrainian books and Ukrainians to read translations of EU authors.
Maria Shubchyk encourages young authors to take an active role in promoting their works internationally. "Assist your publishing houses with promotions abroad, seek out opportunities to connect with foreign media, and, if possible, participate in fairs and festivals," she advises.
Ukrainian literature in the European cultural space grows stronger each year. With increasing foreign interest and robust partner support, promising opportunities await Ukrainian authors, publishers, and translators.
