Lyuba Yakimchuk, “Decomposition,” in Writing from Ukraine: Fiction, Poetry and Essays Since 1965. Edited by Mark Andryczyk. New York: Penguin Books, 2022.
Marianna Kiyanovska, “Eyes Filled with Tears So Dense They Won’t Flow,” CBC Feature on Women and War, May 5, 2022.
Lyuba Yakimchuk, “Prayer,” Washington Post Book Club Newsletter, February 2022.
Lyuba Yakimchuk, “Yum Appears,” “Making up the Enemy,” “Hiding Together,” and “How Yum Was Born,” Willow Springs, Issue 88, Fall 2021 (Pushcart-nominated).
Marianna Kiyanovska, Selection of Seven Poems, Ukrainian Literature, Vol. 6, 2021.
Lyuba Yakimchuk, “Ashtray,” “Friends in Common,” and “Asylum, a Dance,” Washington Square Review, Issue 46, Spring 2021.
Lyuba Yakimchuk, “Press Two,” Crossed Lines: Literature & Telephony, Nottingham Trent University, May 2020.
Lyuba Yakimchuk, “Funeral Services” and Borys Humenyuk, “When you clean your weapon,” Poetry International, Issue 25/26, 2019.
Marianna Kiyanovska, Selected Poems from Babyn Yar with an Introduction, Poetry International , December 2017.
Oksana Lutsyshyna, “I dream of explosions,” and “He asks, don’t help me,” Modern Poetry in Translation, Issue 3, 2017.
Borys Humenyuk, “Our platoon commander is a strange fellow,” Cordite Poetry Review, May 2017.
Yulia Fintiktikova, “My Neighbors,” “The Planetary Crisis,” “The Moutherland Oration,” and “Creature,” Poetry International Online, February 2017.
Yulia Fintiktikova, “Mysteries of the Fields,” and “Whether I Puff on a Pipe, Leaning on Greenwich,” SAND Magazine, Issue 15, 2017.
Andrei Polyakov, “We’ll return, me and you, my Moon, to the world,” “It may be the stars, it may be the snow,” and “The Tea Room Orthodoxy,” Poetry International Online, March 2017.
Lyuba Yakimchuk, “Crow, Wheels,” Words Without Borders, April 2016.
Anastasia Afanasieva, “Untitled,” The London Magazine, April-May 2015.
Tania Malyarchuk, “A Woman and Her Fish,” in Vilenica Almanac, September 2013, 238-241; also in Berlin Quarterly, Issue 2, Summer 2014.
Tania Malyarchuk, “Me and My Sacred Cow,” in Best European Fiction 2013. Edited by Aleksandar Hemon. Champaign: Dalkey Archive Press, 2012, 189-201.
The Joseph Brodsky/Stephen Spender Prize: 2014 Judges' Reports
"Oksana Maksymchuk and Max Rosochinsky's 'Untitled' by Anastasia Afanasieva is such a new translation, of such a new poem, on such a brand new miserable reality not so far away – Eastern Ukraine – that at every round I would think, merely, 'there's nothing much wrong with this for what it is' until there it still was, at the top of the pile, because it's so beautifully phrased, its movements are so authentic in terms of what's seen and felt, and its line-breaks are flawless. It manages without any punctuation whatever (except the colon at the top, which is introductory and perhaps unnecessary) and simply lets voice and silence ebb and flow, go on, get by, down the page and through the bleak day. There's nothing else it can do, it does nothing else, does it superbly."
— Glyn Maxwell
"The winning translation of Anastasia Afanasieva's poem about surviving the war in Eastern Ukraine combined a thoughtful and compassionate approach with perfect instinct for phrase, line break and rhythm. This apparently artless poem is constructed from snippets of narrative: the sort of thing you might hear in a news broadcast or on social media about a distant war. But it requires the translator to dig very deep and to filter the words through our own language's consciousness of war and survival in order to shape a poem in English that moves with the precisely awful banalities of war and comes to rest delicately and finally, 'if so, then we must be experiencing / moments after death'."
— Sasha Dugdale, editor
Modern Poetry in Translation
"Oksana Maksymchuk and Max Rosochinsky's rendition of Anastasia Afanasieva's poignant and creatively bald portrait of the tragedy of civil war in Eastern Ukraine is evoking life's fragility with discreet craft."
"Maksymchuk and Rosochinsky's version of Vladimir Gandelsman's 'Ode to a Dandelion' was marvelously rhythmic and expertly captured the offhand reflectiveness of the original."
— Catriona Kelly
University of Oxford