The cultural policy of the USSR provided for the deliberate displacement of Ukrainian (like
every other national language) to the naive provincial periphery of the “great art” of the mighty
Soviet Union, supposedly possible solely in the sphere of the Russian language. The renewed
Soviet ideologization of literature in the postwar years led to a sharp decline in the artistic
level of all literary fields. But even against the background of this general artistic decline, the
caricaturised burlesque and travesty-like artificiality of Andrii Malyshko’s (1912–1970) poetry of
the time is impressive. Malyshko’s so-called “second birth” in his late period represents a rare
in its purity instance, where we can observe an ontological conflict of language and ideology
that a Ukrainian artist of the Soviet period resolves in favor of language. Malyshko created not
provincial peripheral streams, but a strong artistic and philosophical alternative to the blind,
technocratic, and miserable in its Russified nature, imperial reality.