Local Voices in Times of War: Literature, Communities, and Practices of Resilience

The full-scale war has radically transformed the conditions in which the Ukrainian literary industry exists. What was previously perceived as instability or marginality—small print runs, independent publishers, horizontal initiatives—has, in wartime, revealed itself as a form of resilience. Local cultural projects have become not only tools of survival, but also spaces of ethical choice, cultural diversity, and a profound rethinking of the role of literature in society.

Independent publishers in Ukraine often function not as classical market-driven institutions, but as community-based hubs. They combine editorial, curatorial, educational, archival, and at times even psychological functions. During the war, this means working with traumatic experience, memory, testimony, and with voices that rarely enter the focus of large publishing houses: women, military personnel and civilians, internally displaced people, authors from regions, and members of marginalized communities.

Poetry has gained particular personal and cultural significance—not only combatant poetry, but also poetry that reflects on war and its social and political consequences. It often functions as a form of “art therapy,” yet can grow into something far greater: a space of revelation, discovery, and creative observation, capable of expanding perception and empathy, especially toward others. It is primarily small publishers who take on the task of publishing poetry, as well as short prose and works by lesser-known authors—who, in Ukraine, constitute the majority.

With the onset of the full-scale invasion, people began to feel the passage of time more acutely than ever before, aware that each day might be the last. Many relatively unknown authors felt an urgent need to leave something behind—to fulfill their creative calling, to share their perspective. Art, perhaps, is the only medium that allows this to be done fully. It is precisely the unique perspective of each author that gives their works genuine singularity.

This dynamic is not limited to poetry or short prose. Since the beginning of the invasion, an increasing number of authors working with longer prose have turned, for example, to Ukrainian Literary Agency OVO, seeking the possibility to share their perspective and see their work published. After receiving professional feedback, authors can revise their manuscripts in the hope that these texts will eventually be taken up by larger publishing houses.

The situation with poetry and short prose—especially collective or multi-author works—is considerably more difficult. While there are grants supporting Ukrainian authors, such as the Presidential Grant for Young Writers or opportunities offered by the Ukrainian Book Institute, the current circumstances limit the state’s ability to provide sustained support. Large publishers, understandably, are often reluctant to take risks, preferring well-known authors or translated titles whose commercial success has already been proven abroad—albeit within a different cultural and mental context. Poetry and short prose, especially collective volumes, rarely fall within their scope. As a result, authors turn to small independent publishers.

A telling example is the poet Mykola Sliusarevskyi, a laureate of major Ukrainian literary prizes, including the Vasyl Symonenko Prize (2021) and the Todos Osmachka Prize (2019), and a member of both the National Union of Writers of Ukraine and the National Union of Journalists of Ukraine. Despite his recognition, his four poetry collections were published by three different publishing houses. The most recent one—chosen after the awards and after the beginning of the full-scale invasion—was published by a small independent publishing house. Why?

The war has forced local cultural initiatives to constantly negotiate the balance between survival and development. On one side lie financial instability, rampant inflation, soaring food prices, declining purchasing power, disrupted logistics, constant blackouts, team burnout, and widespread psychological exhaustion. On the other side is a growing need to make sense of reality—to engage in an honest and complex conversation that only literature can sustain. Out of this tension emerge new formats: small series, interdisciplinary books, collective projects, and events at the intersection of literature, education, and activism. Many “non-mainstream” authors choose ideological closeness and individuality—both their own and that of the publisher. In this way, new communities are formed, and the notion of what is considered “mainstream” expands, perhaps moving closer to what is universally human.

Liubov Baz is a Ukrainian writer, literary scholar, editor and cultural organiser. She writes fantasy and speculative fiction for young adults and adults (e.g. De Profundis), with a strong focus on worldbuilding, social issues and the complexities of growing up. She is the founder and editor-in-chief of Motornyy Ravlyk, a publishing house dedicated to Ukrainian-language books for teenagers and young readers. Her texts have appeared in anthologies and literary magazines, and she is a finalist and laureate of national writing competitions, including the Smoloskyp Award. Liubov regularly takes part in literary festivals and book fairs both in Ukraine and across Europe. She is particularly interested in intercultural dialogue and translation, and sees storytelling as a powerful tool for building empathy and mutual understanding across borders.

Part of the International Literature Exchange 2025-26. The International Literature Exchange is a partnership project by National Centre for Writing and British Council, supported by Arts Council England.