Volume 13 - Issue 73
/ January 2024
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DOI: https://doi.org/10.34069/AI/2024.73.01.26
How to Cite:
Drozdovskyi, D., & Naumenko, N. (2024). Korotko’s phenomenological myth of Odesa in Bera and Cucumber: otherness,
melancholy and anthropocene. Amazonia Investiga, 13(73), 307-317 https://doi.org/10.34069/AI/2024.73.01.26
Korotko’s phenomenological myth of Odesa in Bera and Cucumber:
otherness, melancholy and anthropocene
Феноменологічний міф Одеси у книжці “Бера і Огірок” О. Коротка: інакшість, меланхолія та
антропоцен
Received: December 20, 2023 Accepted: January 28, 2024
Written by:
Dmytro Drozdovskyi1
https://orcid.org/0000-0002-2838-6086
Nataliia Naumenko2
https://orcid.org/0000-0002-7340-8985
Abstract
In the research, with the help of the method of
mytho-criticism and archetypal analysis (Carl
Gustav Jung), the author has analyzed and
outlined the chronotope represented in the stories
in Bera and Cucumber by Aleksandr Korotko.
This book, translated into English by M.
Pursglove, was published in London in 2023.
With the help of archetypal analysis, the Odesa
text was characterized as a mythological one. It
has been investigated that the Odesa narrative
represents a special worldview of the heroes,
who are characterized by a combination of
kabbalistic worldview, Christian humanism,
Turkish melancholy, contemplativeness that
results from the unity of the heroes of the Odesa
space with eternal nature elements. The writer
reconstructs the Odesa identity in its ontological
form: the social interaction between the
characters reveals their essence superficially, on
the other hand, the anthropocene way of
depicting the characters as immanently
connected with the elements of nature reveals
their universal ontological essence. The Odesa
text is represented as mythological one, the loci
of which are subordinated to the idea of the
immutability of space and time. This is the
peculiarity of the chronotope marked by
mythological intentions: the characters appear
only as variable, fluid entities in the macrocosm
of Odesa that as depicted in Korotko’s stories is
characterized by the intertwined relationships
1
PhD, academic fellow of the Department of foreign and Slavic literatures, Shevchenko Institute of Literature of the National
Academy of Sciences of Ukraine. WoS Researcher ID: ABR-5146-2022
2
Doctor of Philology, Professor of the Department of Foreign Languages for Specific Purposes, National University of Food
Technologies, Ministry of Education and Science of Ukraine. WoS Researcher ID: C-7411-2019
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between the spirit, nature, and humanity from
ancient times. Rather than viewing human beings
and nature within a subject-object framework,
the writer presents a holistic system that reflects
an anthropocene perspective of the world. The
article argues that traditional logocentric
paradigms fall short in capturing and unraveling
the identity of Odesa that is intricately woven
into the interconnected narratives of Korotko's
stories.
Keywords: Odesa text, Odesa myth, mytho-
criticism, archetype, melancholy.
Introduction
Aleksandr Korotko’s (Олександр Коротко)
short stories collection Bera and Cucumber (in
Ukrainian: “Бера і Огірок”) has reinforced in the
discourse of contemporary post-postmodern
literature the discussion about a new
representation of the well-known and already
established concept ‘Odesa text’. The events in
the short stories take place in Odesa and are
directly related to the Odesa mythological
representation and its special identity, the
psychology of Odesa residents, the specific
worldview of the characters who live near the sea
and have a special type of relationship with
nature.
The thesis statement of this article is that in
Korotko’s Bera and Cucumber, Odesa is
portrayed as a mythical city that encapsulates the
complex history and cultural identity determined
by the sea. The narratives woven around Odesa
in these short stories delve into the multifaceted
layers of the city's past and the intertwining of
diverse cultural influences, mainly Jewish.
Through the lens of postcolonial discourse,
A. Korotko has skillfully crafted his short stories
that capture the essence of Odesa as a space that
evokes melancholia, nostalgia, defiance, and a
rich tapestry of interconnected narratives.
Moreover, the fictional portrayal of Odesa’s
mythological narrative in Korotko’s
contemporary postcolonial fiction serves as a
compelling example of how the author has
engaged with the complexities of history and
identity. By delving into the mythos of Odesa,
these narratives offer a profound exploration of
the city's significance in the postcolonial context,
shedding light on its enduring impact on the
imagination and consciousness of its inhabitants
and those who encounter its literary
representations. Odesa in Bera and Cucumber
becomes more than just a physical setting; it
becomes a symbol of resilience and cultural-
metaphysical hybridity.
In this article, the author has focused on
reevaluating the 'Odesa text' and ‘Odesa myth’ in
contemporary fiction, aiming to provide a fresh
perspective on this cultural phenomenon. The
new representation of the 'Odesa text' in
Korotko’s Bera and Cucumber involves
examining how Odesa, as a city and a concept
with specific mythological explications, is
portrayed in various literary works and cultural
contexts. This analysis is important because the
'Odesa text' not only represents a specific
geographical location but also embodies a unique
cultural identity shaped by historical events and
the concept of melancholy, multicultural
population, and influential literary figures. By
delving into this representation, it is possible to
gain a deeper understanding of the complexities
and significance of the Odesa narrative in
literature and its broader cultural implications,
e.g. in the anthropocene paradigm.
The ongoing Russian invasion in Odesa has
drastically altered the region's landscape and
world perception, disrupting the centuries-old
colonial paradigm that had shaped the city's
identity. The attacks on Odesa have brought to
the forefront the realities of conflict and the
struggles faced by its inhabitants, challenging the
romanticized notions often associated with the
city represented in Russian fiction of the previous
times. This shift has forced a reevaluation of
Odesa's historical context and cultural
significance in the post-colonial Ukrainian
paradigm, highlighting the resilience of its
people. The current situation underscores the
need for a nuanced understanding of Odesa's past
and present, shedding light on its complexities
beyond the colonial framework. Bera and
Cucumber offers a unique perspective on
contemporary Ukrainian fiction in the context of
Drozdovskyi, D., Naumenko, N. / Volume 13 - Issue 73: 307-317 / January, 2024
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wartime, contributing to the growing body of
fiction about the country that is emerging on the
world book market. One notable example is
Maria Miniailo’s book 24.02 that explores the
theme of resistance in contemporary Ukraine. In
this narrative, the discourse of resistance is
depicted through elements of satire and anti-
colonial motives, as in Miniailo’s novella Stolen
Spring (Drozdovskyi, 2023). The increasing
visibility of such narratives not only sheds light
on the socio-political landscape of Ukraine but
also serves as a testament to the resilience and
creativity of Ukrainian writers in portraying the
complexities of their homeland’s experiences
during times of conflict.
Korotko's Bera and Cucumber offers a unique
narrative portraying Odesa as an anthropocene
reality, a place of peace, melancholy, and
harmonious coexistence, emphasizing the
inherent qualities of its citizens. The sea serves
as a significant backdrop shaping the worldview
of characters navigating a cross-cultural
environment, blending elements of Jewish and
Ukrainian identities. Through this lens, the
characters strive to mitigate the absurdities of
life. Korotko's Bera and Cucumber sheds light on
the intricacies of coexisting in a multiethnic
setting, highlighting the city's vibrant tapestry of
cultures and the shared pursuit of melancholy,
peace and understanding among its inhabitants
who live in the anthropocene reality.
Studying the representation of Odesa as a
mythical phenomenon in Bera and Cucumber is
vital for several reasons. First, examining how
Odesa is portrayed in contemporary fiction
allows for a deeper understanding of its cultural
significance and the impact of historical and
political events on its identity in the post-colonial
paradigm. Second, analyzing the mythic essence
of Odesa in Bera and Cucumber can provide
insights into how myth shapes collective memory
and influences perceptions of place and
community. By delving into the mythical
representation of Odesa in Bera and Cucumber,
the author of this paper has uncovered hidden
layers of Odesa myth and melancholy, explore
the intersection of reality and imagination, and
ultimately contribute to a more nuanced
appreciation of the city's rich cultural heritage as
a pce of melancholy and leisure.
In this context, the representation of Odesa as a
special mythological city with an eternal identity
based on elements and harmony reflects a new
understanding of Odesa as an ontological place.
The characters in Bera and Cucumber are likened
to mannequins, suggesting a deeper symbolic
connection to the overarching themes of
existence and parabolic realism (Drozdovskyi,
2021) and surrealism that permeate the narrative.
This analysis sheds light on how the city of
Odessa is portrayed as a timeless entity
embodying universal principles, offering a
unique perspective on its cultural and
metaphysical significance in the novel.
In the literature review section of the article,
readers can expect an overview of existing
research on Odesa's myth and ontological
identity, contextualizing the significance of these
themes in Korotko's Bera and Cucumber. The
methodology section will detail the approach
taken to analyze the representation of Odesa in
Bera and Cucumber, outlining the research
methods and theoretical framework employed.
The results and discussion section will present
the findings of the study, exploring how Odesa is
mythologized in Bera and Cucumber and how
its ontological identity is constructed in
Korotko’s narrative. Finally, the conclusions
section will synthesize key insights, offer
interpretations of the findings, and suggest
implications for further research in this cultural
and literary area.
Theoretical framework or literature review
The hypothesis of the research is that the Odesa
narrative unfolds the landscape of the short
stories in three vectors: 1) anthropocene that
implies a special connection of the characters
with the sea and nature in general, their
immersion in the natural world, deep unity,
manifested with the help of the sea and other
natural phenomena and elements. The concept of
anthropocene has been discussed in recent
academic researches and it provides a new
outlook on how we can exploit literary
phenomena taking into account a special point of
view based on the deconstruction of traditional
antagonism between subject and object. The
nature in such phenomena is not considered to be
an object but has its role epistemological status.
We see a peaceful co-existence between human
beings and nature and the humans follow the
principles of nature organization in order to
survive and to avoid catastrophes that may
happen due to the human destructive activities.
Korotko’s short stories demonstrate these deep
anthropocene connections between human
beings and the sea, human psychology and nature
cycles, which is portrayed in the analyzed texts.
The methodological approach and theoretical
framework regarding this section of my research
is based on the publications by C. Bonneuil and
J.-B. Fressoz (2016), N. Castree (2015),
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P. J. Crutzen and E. F. Stoermer (2000),
V. Napolitano (2017), S. Solnick (the author of
the chapter “Anthropocene” in The Routledge
Companion to Twenty-First Century Literary
Fiction, 2018), S. Dalby (2015), R. Macfarlane
(2016), W. McKenzie (2015), A. Trexler (2015),
S. Mentz (2015), C. Waters et al., (2014). In
Korotko’s writings, we observe the fundamental
idea of anthropocene reality in which nature has
an important impact on human mentality and it
structures human lives and leisure activities,
determining human behaviour and a special way
of world perception. 2) a special type of leisure
that is included in the life of the characters, the
opportunity to contemplate most of the time,
rather than act; a special way of life that involves
immersing oneself in oneself and feeling all the
movements of nature that helps to maintain
psychological balance, and it is worth
emphasizing that this form of leisure is
typologically combined with a special concept of
life that is present in the Turkish worldview
discourse, and that also correlates with the
Jewish tradition worldview that verbally
visualizes the multidimensionality of the Odesa
text in Bera and Cucumber; 3) the Otherness of
the Odesa world (Odesa identity): the language
of the characters appears to be radically different,
which is especially noticeable in the English
translation by Michael Pursglaove, the Otherness
of worldviews, life orientations, etc.
These specified vectors determine the peculiarity
of the representation of the Odesa text in
Korotko's book. The writer resorts to the
representation of the Odesa myth that is
heterogeneous, multidimensional, and
multicultural. Moreover, it is worth saying that
for centuries, Odesa has been integrated into the
cultural map and mindset of the Russian Empire.
A. Korotko with his short stories have
deconstructed this tradition paying attention to
the immanent uniqueness and Otherness of
Odesites and Odesa narrative not in the empire
cultural paradigm but taking into account the
specific features of Odesa mind, psychology,
identity, leisure, connections with nature and
anthropocene in general.
Besides, there is no political factor in the Odesa
narrative that is psychologically reliable and
artistically depicted by the writer. The characters
are immersed in the space of everyday problems
that reveal their philosophy of humorous
stoicism, the ability to perceive difficult
situations with dignity, with a smile, revealing a
special inner strength that comes from immanent
wisdom. Here it is appropriate to say both about
the motives of Ecclesiastes and about the special
kabbalistic conception of the world (Scholem,
1996) that is a characteristic of Odesites.
Methodology
In conducting a rigorous study on the
representation of Odesa as a myth-narrative in
Korotko's Bera and Cucumber, several key
methodological considerations are essential to
ensure the validity and reliability of the research
findings. First, the selection of the text for
analysis was justified based on its relevance to
the study's research questions and objectives,
with clear criteria outlined for why Bera and
Cucumber was chosen as the primary source
material. This importance is determined by the
contemporary political situation and the
importance of representation of Odesa to the
world community. Korotko’s book Bera and
Cucumber published in London in 2023
(translated by Michael Pursglove) provides a
ground for such a discussion about the
representation of Odesa in the post-colonial
paradigm in Ukraine’s wartime context. The data
collection was comprehensive, involving a
thorough examination of the text to identify and
document all instances where Odesa is portrayed
in a mythological context in Bera and Cucumber.
The analysis employs a theoretically informed
approach, drawing on established literary and
mythological frameworks to interpret Odesa's
narrative function in Bera and Cucumber.
Rigorous data analysis techniques, such as close
reading, content analysis, thematic analysis,
archetype analysis, and comparative analysis has
ensured a robust exploration of Odesa's mythic
representation. Furthermore, the study critically
engages with the existing literature on
mythology, narrative theory, and post-
postmodern literature of the 21st century to
situate the analysis within a broader context.
The criteria for selecting stories from Bera and
Cucumber about the identity and ontology of
Odesa as a mythological narrative included
elements such as the centrality of Odesa as a
character and a place (locus and topos at the same
time), the exploration of themes related to
identity ontology within the narrative, and the
symbolic significance of Odesa in conveying
mythological concepts. Additionally, stories that
delve deeply into Odesa's origins, characteristics,
and role within the narrative as it relates to
broader mythological themes have also been
considered in the selection process. Overall, the
chosen stories from Bera and Cucumber offer a
rich and nuanced exploration of Odesa's identity
as an ontological phenomenon within the
mythological framework.
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In the context of studying Odesa as a myth and
as a text in Korotko's Bera and Cucumber, the
data analysis has involved categorizing textual
passages related to Odesa, identifying recurring
themes or motifs, analyzing narrative structures
and character development, and exploring
intertextual references or symbolic
representations associated with Odesa. It was
essential to outline the specific analytical tools,
frameworks, and methodologies (works of
A. Stepanova, S. Kaya, M. Gauhman) used to
examine Odesa's mythological and textual
dimensions in order to elucidate the research
process and outcomes for readers and researchers
alike.
In analyzing Odesa as a myth and as a text in
Korotko's Bera and Cucumber, a detailed
methodology has included several steps. First, a
thorough reading of Bera and Cucumber was
conducted to identify passages where Odesa is
mentioned or plays a significant role. These
passages are then categorized based on themes
such as identity, ontology, symbolism, and
cultural references related to Odesa. Second, a
hermeneutic process is implemented to tag
specific textual elements associated with Odesa,
such as character descriptions, interactions with
other characters, and narrative progression. A
thematic analysis was carried out to explore the
mythological underpinnings of Odesa's
character, including any symbolic or archetypal
representations present in Bera and Cucumber,.
Third, a comparative analysis was conducted to
examine how Odesa's portrayal aligns with
traditional mythological narratives or deviates
from conventional mythic structures. The data
analysis involved further interpreting the
findings in the context of broader literary and
mythological theories, aiming to uncover
insights into Odesa's significance as both a myth
and a literary character in Bera and Cucumber.
Finally, the detailed data analysis approach
ensures a comprehensive exploration of Odesa's
multifaceted dimensions within Bera and
Cucumber, enriching the understanding of Odesa
as a mythological figure and textual construct in
Korotko's book.
Methodology of myth (archetype) studies,
cultural studies and hermeneutic approach have
been exploited in this research. The author has
provided the structural and phenomenological
analysis of Korotko’s short stories to underline
the key concepts that spotlight and structure a
phenomenological representation of Odesa text
and Odesa’s mythological narrative as it is
portrayed in Bera and Cucumber.
The concepts of Odesa text and Odesa myth have
been discussed and explained in contemporary
publications in the aspect of postcolonial
interpretation of Odesa cultural and literary texts
(M. Gauhman, 2016; Ja. P. Gіnrіhs, 2011;
T. Shekhovtsova & S. Yurchenko, 2020;
A. Stepanova, 2022). “The Odesa text represents
a certain figurative structure, <....>, the urban
consciousness accumulates its highest spiritual
meaning through the perception of the city.
The semantic setting (idea) of the Odesa text
initially lay in the sociocultural plane and was
associated with the historical image of the city
and its perception in the minds of citizens.
Founded in 1795, Odesa according to the plan of
Catherine II was destined to become an ordinary
trading city‑port” (Stepanova, 2022, p. 734).
Furthermore, in the article, the author has
provided a postcolonial interpretation of Odesa
narrative in Korotko’s Bera and Cucumber as a
phenomenological being that has its unique
nature. This nature of Odesa is not connected
with political ideology and social structures but
it is determined by the inner psychology of
Odesites who live in peaceful coexistence with
natural elements, such as the Black Sea, etc. The
phenomenological nature of such phenomena
structures the mindset of Odesites and reveals its
multifaceted mythological revelation of Odesa as
a mythological narrative
Results and discussion
The selection of stories that in Bera and
Cucumber portray Odesa in a post-colonial frame
and emphasize its ontological identity as an
eternal place reflects a deliberate methodological
approach to highlight the essence of Odesa as a
myth. This rigorous research methodology aims
to delve deeper into the philosophical and
existential nature of Odesa, exploring its timeless
and intrinsic characteristics that define the city in
Korotko’s Bera and Cucumber as more than just
a physical location (locus and topos) but as a
place with enduring significance and symbolism.
By analyzing Odessa's ontological essence
through these narratives, this research offers a
comprehensive examination of the city's cultural
and historical post-colonial underpinnings,
enriching the understanding of its complex
identity beyond mere geographical boundaries
and ideological limitations, politics and social
boundaries.
Moreover, the criteria for selecting stories from
Bera and Cucumber were connected with the
concepts of multicultural and multidimensional
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representation of Odesa in historical terms, while
aiming to create a unifying narrative of harmony
and peace that portrays a thematic focus on the
desire for tranquility, contemplation, and unity.
These stories exemplify a shift towards
introspection over aggression, emphasizing the
role of human nature in creating rather than
destroying. The chosen stories also reflect the sea
in the narrative as a symbolic space of elemental
forces that provide leisure, inspiration, freedom,
independence, and autonomy, underscoring a
connection to nature and inner self-discovery. By
selecting stories that embody these criteria, the
compilation in Bera and Cucumber presents a
diverse and historically rich portrayal of Odesa's
character that aligns with the overarching theme
of seeking harmony and peace through
contemplative and harmonious narratives.
Besides, the criteria for selecting the stories was
based on the premise that humans in the narrative
are represented not superior to nature but instead
dependent on it, as evidenced by the sea's
influence on their attitudes towards leisure. It
was stressed that the narratives highlight a unique
perspective on leisure that reflects a form of
freedom. In Bera and Cucumber, this concept is
embodied through internal freedom and a deep
connection to elemental forces that transcend
societal constraints and conventional perceptions
of time. According to the analysis, the characters
despite being engaged in social responsibilities
maintain a profound affinity with nature's
timeless essence, portraying a sense of kinship
and liberation through their interactions with the
elements.
Moreover, to underline the rigor of the study, it
is important to say that Korotko’s Odesa text
represents a system of values based on the
concepts of honour, dignity and truthfulness. It is
these concepts that correlate with the categories
defining the life world of the characters. Special
attention is paid to the depiction of landscapes,
the landscape plan that correlates with the
element of the sea. Life near the sea, as the
narrator convinces, forms a special philosophy in
Odesites as a way of relating to events and things.
They are able to dissolve in the natural element,
to immerse themselves in the primal matter that
cannot be destroyed by the ideological and
political contradictions of the time. To depict the
political world, the writer uses humour and ironic
mode. Instead, the style of describing landscapes,
sea, Odesa air, streets and historical districts
(Moldavanka, city down town) and quarters has
a special slowness. In such places, the narrative
seems to dissolve in the element about which the
narrator speaks.
He was born, and grew up, on Mala Arnautska
Street, and his whole life had passed in full view
of an old Odesa dvoryk or yard. Solomon
Volkovich was the image of a wise man twenty-
four hours a day, so it was impossible to catch
him out. His neighbours thought he had gone in
the head, admittedly not very far. But no one
doubted he was heading that way (Korotko,
2023, p. 16).
Emphasis on the connections of Odesa characters
with nature, in particular the sea, contributes to
the general mythologizing of the narrative.
Stories reveal to the reader a strange world that
has its own autonomy. Certain worldview
parameters of the characters in the stories
convince readers that Odesites have an inherent
wisdom that is usually associated with the
Eastern tradition (wisdom as a system of constant
parameters of world perception that determines
the stability of the world, its harmony, and the
harmonious existence of a person in this world
for the sake of happiness and other benefits).
Indeed, Korotko’s short stories are dominated by
philosophical contemplation, contemplativeness
that correlates at the same time with the absurd
and whimsical world of social processes in which
the characters volens nolens exist:
The quarters to which the tourists flock and
where real Odesites live are two separate towns,
with feuds and nomadic raids by their core
inhabitants. The first is idle and imperious, well
fed, unhurried in thought and deed, the second is
human and embittered, life-enhancing and
gloomy, cut off from flourishing hopes by
disorganisation, daily existence, screaming
children and overworked streets, sickness and
malaise; it yearns to earn money on the eve of
running out of it. Oh, these eves – reliable and
true friends of Odesites! (Korotko, 2023,
p. 88-89).
Odesa in Bera and Cucumber is multicultural,
multidimensional in historical terms, and the
unifying narrative that combines different
historical dimensions is the desire to create a
space of harmony and peace, when
contemplation wins over activity, so that human
nature does not reveal itself in something
aggressive to the unworthy, which destroys
rather than creates.
The world of the sea is a space of elements that
gives leisure, inspiration, freedom,
independence, and ultimately autonomy.
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Half a year went past. He was standing on the
penthouse terrace wearing an expensive suit and
a snow-white shirt, looking at the sea. It seemed
to him that no one in the world felt the sea like he
did. As he looked at the raging element, Solomon
Volkovich suddenly realised what was
happening in his soul. Maybe the sea was his soul
and he himself was nothing, dust, a hollow being,
an empty one-room flat lacking furniture,
comfort and warmth. But the sea seethed,
changing its colours and shades, summoning
help. How could he save both his soul and
himself? Again, he wanted to look beyond the
horizon and sea, beyond the fiery red curtain of
the sunset scenes of spiritual life, but his
imagination failed him. From the height of the
spiritual fog all that could be heard was the
croaking of frogs in the subterranean underpasses
of satiated normality (Korotko, 2023, p. 28-29).
A human being in these stories is not superior to
nature, he or she is dependent on it, because the
sea itself determines the special attitude to
leisure, which is represented in various
narratives. Leisure is a special form of freedom
in the book. If we recall the ancient world, slaves
did not have the right to leisure time: only free
citizens had leisure time. This maxim finds its
embodiment in Bera...: we have images of
internally free people who, although forced to
deal with various social concerns, nevertheless
deeply feel a kinship with the elements that are
not governed by time.
In Korotko’s book, the characters refuse the
subject-object existence in the human-nature
system. They exist in an inseparable unity of
material and metaphysical, corporeal and
transcendental, physical and elemental, material
and spiritual. Odesa world has its own language,
its own philosophy of life. By this concept, we
understand the ethical code of norms, which are
formed not in the socio-political plane, but in the
philosophical, metaphysical plane, which
combines various religious experiences and
traditions, sometimes different in time and space,
but approximate in its ontological basis.
“Mama: De Baguza de bazé?
Son: Bazé.
Mom: Be manóta chi?
Son: Útsa.
Mama: Néisyk dúkhil fo?
Son: Limatýka na koté?
Mama: Bókhil!
Son: Móza zui
Peaceful conversation smoothly switches to
elevated tones.
Mama: Zóga!
Son: Gam!!” (Korotko, 2023, p. 88).
“One of such concepts corresponds to the
Turkish concept hüzün (melancholy).
Melancholy, or hüzün in Turkish. is a key
concept for understanding the worldview of a
Turkish person” (Drozdovskyi, 2013).
According to one interpretation, it is what is
experienced when we “put too much effort and
time into achieving earthly pleasures and
material goods” (Pamuk, 2012, p. 124). For
Sufis, hüzün is “the mental torment of not being
able to be closer to Allah, because in this world
we are unable to do as much as is necessary for
him” (Pamuk, 2012, p. 125). Finally, according
to El Kindi, "hüzün is not only the pain of the loss
or death of a loved one, but also other emotional
disturbances such as rage, love, malice and
unfounded fear" (Pamuk, 2012, p. 126). Istanbul
is also hüzün, and therefore everything in this
city is perishable, like a phantom. Istanbul itself
is important as a space of memory, which must
be preserved in an image: verbal or pictorial.
Istanbul does not exist without its inhabitants,
whose language it speaks every minute. And
therefore, not having support from his parents to
become an artist, Orhan chooses another
"profession": to be a writer. He must preserve the
memory of his eternal city” (Drozdovsky, 2013).
The researchers draw attention to the fact that
both in the novels of the Turkish writer and in the
Ukrainian literature of the latest period, a feeling
of melancholy is presented that is a component of
the structure of the worldview of the characters.
“In the novels "Silent House", "Snow" by
O. Pamuk and "Living Sound" by A. Kokotiukha,
a type of city person is proposed who acutely
feels his alienation and loneliness among a large
crowd, in the community of fellow citizens and
in his own family. If the options for the initiation
of the urban hero are specific to novels with a
historical or pseudo-historical background, then
the self-estranged one is found in works where
the city is the embodiment of the modern world.
The characters have big dreams and hopes, which
are shattered by the realization of the
impossibility of changing social relations. So the
melancholic intonations, the dramatic finale, as
well as the existential loneliness of the city man,
are foreseen” (Kaya, 2021, p. 234). A similar
motif is represented in Bera and Cucumber,
where Odesites are characterized by melancholy,
which stems not only from existential loneliness,
but from the ontological autonomy of each
character, which revitalizes the connection with
an ancient myth and is a representation of the
archetypal image of the protohuman.
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“Memories make us even more lonely. We
become like trees in winter. I look at their bare
flesh, shyly avert my gaze, and don’t know where
to put myself or what to do with this cloud called
soul.
My memory stands behind your back, you are
frying sunflower seeds in a hot frying pan,
carefully sprinkling them with salt with a table
spoon, and stirring them unhurriedly. I come a bit
nearer, you feel my breath, and, as if nothing has
happened: “Son, I’ll just finish frying them, they
can cool down a bit and we’ll go to the football.
There’s still time” (Korotko, 2023, p. 97).
Turkish melancholy in Korotko’s book is
typologically similar to the feeling of spleen,
contemplation, dissolved in being. Such a feeling
arises from the fact that a person is immersed in
the world of nature, and not superficial social
processes. Its existence is determined by the
eternal elements that reveal an unlimited space of
freedom to human beings. In this case, a person
tries to imitate nature, and nature is immanently
wise, subject to cycles, the alternation of which
ensures order and harmony. The desire for a
harmonious life determines the specifics of the
worldview of the characters, who strive to
distance themselves from chaos and bring the
transcendental harmony in the human world
closer to the cosmic order that determines the
sunrise and sunset, tides and other natural cycles.
And it is precisely such natural laws that ensure
the stability of existence that is often shaky in the
social space. Therefore, the ideal for the
characters exists not in social institutions, but in
the feeling of what exists outside the word, in
approaching the energy that has a relationship
with nature, because nature is not oriented to self-
destruction, but only to existence, to self-
development and continuation, which will
continue until, as long as the world exists.
In Korotko’s stories, a closed, cyclical
chronotope is presented, which is generally
subordinated to the narrator's intention to
mythologize the Odesa space. The sea, the
geographical loci of Odesa, often marked
historically, are parts of the universal-
mythological topos of Odesa that grows out of an
ancient, spontaneously conditioned mythological
substrate. Mythology is also facilitated by the
way the characters are portrayed: they often
pretend to be active, although they are involved
in various life conflicts that are of a trivial nature.
In fact, the characters are immersed in the otium
and negotium of Odesa, its leisure connected
with special worldview guidelines.
Moreover, an important component of the
compositional design of these stories in Bera… is
the description of the landscape. The
characteristics of the exterior and natural
landscapes become an important factor in the
mythologizing of the narrative, a form of
representation of the immanent and eventual
connection between human beings and nature
that sometimes cannot be explained verbally. In
this way, a mystical image of the inner world of
a person, revealed in the bosom of nature, is
presented, and this revelation is represented not
in language, but in the deep states experienced by
the characters. Outwardly, they exist in various
social configurations that do not relate to the
multidimensional inner spiritual life of Odesites.
The short stories present various philosophical
models of the worldview of the heroes:
kabbalistic and Eastern, connected with Turkish
melancholy, self-absorbed contemplation.
Odesa does not demand sacrifices. The doors and
windows of heroism are boarded up and you
sleepwalk through tunnels of the unconscious in
the deaf hermetic space of solitude and along
streets of childhood and youth, in the carapace of
a lethargic dream of recollections, breathing in
the aroma of past life. But alongside are people,
many people; they move and orbit, as the Earth
does the Sun. You can touch them mentally and
even pinch them, but they will not feel any pain
– they are from another reality. You will plunge
into the sediment of the broth of student life, but
even there you are absent (Korotko, 2023, p. 28).
The external dimension has little weight in this
case: Odesa in Korotko’s exists as a
transcendental, immanently unchanging space
that arose near the eternal elements and that has
a connection with myth. Social processes reflect
people's lives, but the emphasis in the book is not
on them at all. The space of social interaction is
marked by irony, descriptions of landscapes
reflect the principle of static depiction of
elements that are immovable in time, eternal in
space, and therefore, people living near the sea
are depicted as an organic continuation of these
elements.
Furthermore, Odesites in these short stories are
an anthropological model of the manifestation of
the spirit that is invisibly represented in natural
elements. A human being in these stories is not
different from the elements of nature, but their
organic continuation. Korotko emphasizes that
the special spirit that was discussed by the
classics of German philosophy, in particular
Hegel, constantly wanders from one epoch to
another, and in the Christian paradigm it realizes
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itself in the human dimension, developing and
improving at each turn of the spiral.
In Korotko’s stories, there is a lot of humanism
that stems from the Christian instructions of the
New Testament, but at the same time there are
archetypal models of the image of the world
through the basic archetypal images of the eye,
shadow, house, road (in the system of Jungian
approaches), etc. The possibility of using
archetypal reconstruction is determined precisely
by the general intention of the narrative to
mythologize. The characters are creatures, but at
the same time, mannequins born of the elements
of nature that fall asleep at nightfall and come to
life with the tides of the Black Sea. The narrator
shows that the psychological state of Odesites,
the rhythms of their life correlate with the
rhythms of the sea.
The writer reconstructs Odesa identity, searching
for an existential dimension, demonstrating not
social identities as the basis of Odesa space, but
through attempts at archetypal reconstruction of
characters. O. Korotka's story is an attempt to
write the history of Odesa that is represented
through the micro-histories of the heroes, whose
names are often included in the chapter titles. In
fact, it is about an anthropological story, passed
through the destinies of the heroes. When we
read these narratives, we understand how much
the characters are, as it were, heroes-components
of one common myth. From this we reconstruct
the general myth of Odesa as a primeval space in
which nature weighs. Moreover, we observe a
special anthropocene way of depicting reality
connected with the display of characters as
beings who minimize their activity in the external
social manifestation, but live an intense inner
psychological life that can be characterized as
being: it is marked by value, directly related to
the Odesa narrative and is part of the Odesa myth.
Thus, under the Odesa myth in Bera…, we
understand a narrative in which a person exists in
inseparable unity with nature, with the historical
memory of Odesa that is realized through the loci
of the city where the characters live. This is the
space of immanent connection between human
beings and the elements. The characters are
absorbed in themselves, they look at the world
contemplatively and melancholy, realizing that
they are only variables, only travelers,
components of the great macrocosm of Odesa, in
which there are different realities, hidden gaps
between which non-linear connections are
formed.
I’m even afraid to describe my feelings, so as not
to dissipate that spiritual state which had made
me an invisible man. At those moments
everything was subordinate to my imagination. I
took advantage of this without ceremony, even
abused it, but tried very hard, by the end of
breakfast, to return to the body which had been
cast to the whims of fate, to breathe life into it
and begin the existence of an ordinary person
(Korotko, 2023, p. 38).
Finally, it is impossible to perceive Odesa
identity linearly, in the categories of
logocentrism. Ultimately the archetype realizes
itself through imagery, but it is never really
possible to verbalize what the archetype itself is.
This is an ancient model of the functioning of the
universe as a macrocosm of matter and energy,
realized in the depiction of characters and the sea
in Bera and Cucumber, where the Odesa identity
appears as a special type of Otherness, as a
potentiation of the mythological narrative that
has a connection with an ancient myth.
Conclusions
In Bera and Cucumber, Korotko depicts Odesa
as a mythological topos. The chronotope has a
cyclical nature, the characters subordinate their
own lives to natural cycles that determine the
peculiarities of the connection between man and
nature in the Odesa space. Such a connection has
an archetypal character and a mythological
nature: from a social point of view, the characters
appear to be simulacra, but their inner
psychological world should be defined as a space
of being: it has its own axiology. The
psychological characteristics of the Odesa world
are marked by multidimensionality: they
combine various worldviews and philosophical
traditions, in particular, they perceive the world
in the categories of natural philosophy, cabalistic
multifaceted dimension, and Turkish
melancholy. The interaction of the characters
with the sea indicates that, in these narratives,
there is no traditional division into subject and
object relations. Such a feature that
contemporary scholars define as anthropocene,
only confirms the mythological orientation of the
entire narrative, since the lack of such a division
into subjects and objects is characteristic of
mythological thinking. The characters try to
experience and find deep existential happiness in
their leisure time that fills their inner world with
essential axiology, that is, values that are timeless
in nature. The Odesa myth in Korotko's Bera… is
presented as a timeless myth that has its
representation in the socio-urbanistic dimension
marked even in the names of districts, historical
realities and loci of Odesa, but the most
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important here are the relations of human beings
with the elements of nature.
Furthermore, such correlations have an
archetypal and mythological nature: the short
stories present the archetypes of the Eye, realized
in the system of twins, the archetype of the Road
and the archetype of the Home. Odesa space
appears as a cozy home, a comfortable existence,
for which the concept of peace is decisive.
The writer skillfully inscribes the Odesa
narrative into the multicultural space of
interaction of Jewish traditions with specifically
Ukrainian ones, with Turkish melancholy and
mythological natural philosophy. However, in
general, we have a tendency to derive the Odesa
text from the paradigm of the Russian narrative
that indicates that the Russian culture that
incorporated the Odesa narrative into its own
indicates its exoticism and otherness. The
concept of otherness is certainly present in
Korotko's stories, but the otherness of Odesans,
Odesa psychology and identity has an immanent
nature and is not connected with the Russian
myth that for centuries sought to colonize the
Odesa narrative. In the end, such a break with the
colonial tradition is indicated by the translation
strategy of Michael Pursglove, who in the
English translation uses the word ‘Odesa’ with
one ‘s’ that corresponds to the Ukrainian
tradition of writing this city name.
Thus, Bera and Cucumber is an example of the
post-postmodern postcolonial Ukrainian fiction
that reveals the Odesa space as possibly
mythological, for which the concepts of peace,
happiness, leisure, melancholy, harmony, and the
unity of human beings with nature are decisive.
And this representation of the Odesa myth
contradicts the Russian colonial policy that today
already in the sociopolitical dimension has led to
numerous attacks on Odesa, the destruction of
this city that for decades Russian culture tried to
incorporate into its own imperial body,
manifesting Odesa as Southern Palmira as
opposed to Northern Palmira, i.e. St. Petersburg.
The narrative strategies used by the narrator
reveal the immanent Otherness of Odesa that
stems from the special Odesa socio-cultural and
religious identity that is based on a harmonious
combination of various philosophical and
worldview traditions.
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