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The new book by Henry Lion Oldie "Prodigal Son. Book 2: The Fugitive", the second book of new trilogy-novel from space opera epic "Oikoumene" was just released in Russian in hard cover! (Azbooka Publisher -- Azbooka-Atticus Publishing Group, Russia, St. Petersburg).

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The cycle of photo-illustrations by Galina Sungurova to H. L. Oldie's mystical / urban fantasy novel "Let Them Die".
18 Photos - View album

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A quotation from “SHMAGIC” by Henry Lion Oldie:
“Prospero Kolraun hoped to stay at home that time; the combat magician found any trip, and especially a hunting one, a useless waste of physical strength. He preferred to be cautious about spending his physical strength. “Hunting is worse than a prison,” he whined to his relatives. Sadly, the court mage-clairvoyant, high on smoking up morels, went hysterical about something bad happening. He predicted “a far road, a strange house” with terrible outcomes. The queen had a migraine; infants cried while hugging their father’s boots—basically, to induce a calm atmosphere for the dynasty, Kolraun had to go with His Majesty. With a heavy heart, wearing heavy boots, with the squeaking carriage springs and a new, fashionable seat, Prospero went with the ruler.”

“ShMagic” is an ironic adventure fantasy novel by Henry Lion Oldie.
“ShMagic” on Amazon:
“ShMagic” on Smashwords:
Book trailer to “ShMagic”:

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Here you can find a complete text of this article in English published in:
"Ukraine und ukrainische Identität in Europa: Beiträge zur Standortbestimmung aus/durch Sprache, Literatur und Kultur" -- Institut für Slavische Philologie Ludwig-Maximilians-Universität München (Germany), Open Publishing LMU, 2017.

The article is an attempt of reviewing the creative achievements of Maryna and Serhij Djačenko, Henry Lion Oldie (pen name of the co-authors Dmytro Gromov and Oleg Ladyžens’kyj) and Andrij Valentynov, the European Science Fiction Society’s Best Writers of Europe competition winners in 2005, 2006 and 2013 respectively, in terms of the place of these authors in the contemporary literary process and the traditions of Russian-language fantastic fiction created by residents or natives of Ukraine, in particular. It is noted that the concept of modern Ukrainian national identity is complex because it goes beyond the Ukrainian language and tends to hybridity, characteristic of postcolonial cultures and multicultural societies, combining Ukrainian, Russian, Jewish and Polish roots. Provided that more high-quality translations appear, this hybridity, writing skill and deep interest in the moral, philosophical, aesthetic and psychological problems of all humanity may promote the recognition of books by M. and S. Djačenko, H.L. Oldie and Andrij Valentynov by European readers and raise the perception of the Ukrainians in Europe to a new level, creating better conditions for cultural integration.

Key words: science fiction, fantasy, genre, national identity, hybridity, hybrid identity, noosphere.

The problem of national identity became very painful and urgent for most of Ukraine’s citizens in 2014 when the hybrid war for independence broke out, changing the lives of millions of people, their survival sometimes dependent on the correct and swift distinction between friend and foe. Language (Ukrainian or Russian) has become a rather effective identifier, but thousands of true Ukrainian patriots who fight and die for Ukraine are Russian-speaking, and this fact along with many other issues shows the multiplicity of the contemporary Ukrainian identity and the complexity of the personal choice of belonging to a certain state and/or nation.

The spouses Maryna and Serhij Djačenko from Kyjiv, the two co-authors Dmytro Gromov and Oleg Ladyžens’kyj (aka Henry Lion Oldie) and Andrij Valentynov from Kharkiv, honored as the European Science Fiction Society’s Best Writers of Europe in 2005, 2006 and 2013 respectively, are primarily russophone authors, but, according to sincere long-term readers’ feedback and many awards, they have made a great contribution to the high poetic, philosophical and psychological level of modern literature written in Ukraine. My family and friends are among their loyal readers who wait for the publication of their new books and whose inner worlds have been influenced by these writers since the 1990s. Hence, the aim of this article is to show that the authors mentioned above deserve high literary status and recognition at an international level, and that Western readers ought not to be deprived of the aesthetic and intellectual pleasure of reading these writers’ fiction, as it expands the horizons of the con-temporary Ukrainian identity in the globalized world.

In psychological terms, national identity is viewed as “an awareness of difference”, a “feeling and recognition of ‘we’ and ‘they’” (Lee 2012, 29). The writer’s identity is also connected with the awareness of difference that is shaped by the ethnicity, language, trend, generation, genre, style and other borders and determines the author’s niche in the literary process. The above-mentioned russophone writers of Ukrainian, Russian and Jewish origin are born in Ukraine and are united by the same “feeling and recognition of ‘we’ and ‘they’ because they have had to pave their hard way in contemporary literature, helping each other like true warriors.
Maryna (born 1968) and Serhij Djačenko (born 1945) tend to be primarily fantasy authors; they denote their trend as ‘M-realism’ never explaining the meaning of the term (‘M’ may stand for magic, mythological, marvellous, meta, Maryna’s, etc.). Most of their fantasy worlds resemble Eastern Europe of the 10th–21st centuries. Another important genre for this writing duet is soft or social SF with modern Europe as its background again. Maryna, as a former actress and Serhij, as a former biologist and psychiatrist successfully complement each other, combining romanticism and analytical thought (Andreeva 2013, 215-250, 257-261). Their fiction has something in common with the best works of Ursula Le Guin, Nikolaj Gogol’, Evgenij Švarc, the Strugatskij brothers, Michail Bulgakov, Stanislaw Lem and Andrzej Sapkowski, but the spouses Djačenko definitely have their unique writing style. Serhij is also a professional screenwriter; his script to the movie “Famine-33” (1991) based on the novel “The Yellow Prince” by Vasyl Barka about the tragedy of the Ukrainian people became a very important and heroic step towards revealing the historical truth (Andreeva 2013, 271-276).

Sir Henry Lion Oldie (or H.L. Oldie) is skilled at different genres: Dmytro Gromov and Oleg Ladyžens’kj (both were born in 1963) are good at heroic, epic, mythological or urban fantasy, magic realism, soft SF, space opera, steam punk, etc. In 1991 they defined their main genre as ‘philosophical thriller’, and the critics suggested using the term of ‘mythological realism of the postmodern period’ (Andreeva 2013, 73). Dmytro Gromov, a fan of rock music, worked as a chemistry engineer, and Oleg Ladyžens’kyj used to be a theatre director. They both are seriously engaged in karate and support beginning writers by giving workshops and organizing conventions and festivals (Andreeva 2013, 23-51). The setting of their fiction covers many parts of the earth and imaginary planets. The readers of Roger Zalezny, Michael Moorcock, Jorge Luis Borges, Michail Bulgakov, Nikolaj Gogol’, Nikolaj Gumiljov, the Strugatskij brothers, David Gemmell, Andrzej Sapkowski, Isaac Asimov, Peter Brett, Neal Stephenson, Gordon Dahlquist or Megan Whalen Turner should appreciate Henry Lion Oldie’s beautifully written fiction.

Andrij Valentynovič Šmalkó, aka Andrij Valentynov (born 1958), a friend of Dmytro Gromov’s and Oleg Ladyžens’kyj’s, is a historian and archaeologist, associate professor at Kharkiv National University (Andreeva 2013, 143 -157). Valentynov’s genre is often defined as ‘cryptohistory’ or alternate (secret) history (Gromov, Ladyžens’kyj: Gromov, Ladyženskij 2000). Profound knowledge of European history from the ancient times to the present makes his exiting worlds thoroughly planned and detailed. He also works successfully in all the genres in which Henry Lion Oldie writes, except space opera. An experienced reader will find the parallels between Valentynov’s books and the fiction by Michail Bulgakov, Umberto Eco, Nikolaj Gogol’, Henry Rider Haggard, Bram Stoker, Aleksej Tolstoj, Michail Šolochov, Ivan Bunin, the Strugatskij brothers, Victor Hugo, Miguel de Cervantes Saavedra, George R.R. Martin, Terry Pratchett, Edith Pargeter and many others.
These Ukrainian writers even collaborate, producing books together: Henry Lion Oldie and Andrij Valentynov are the co-authors of four novels: “We Are to Live Here” (1998), “Shooter” (2006), “Alumen” (2011) and “Fortress of My Soul” (2013), and all the five talented persons united their efforts for a kind of Nikolaj Gogol’ tribute in “The Boundary” (novel, 1998) and “The Pentacle” (a novel-cycle of 30 short stories, 2004). Both books are deeply rooted in Ukrainian folklore and mysticism.

It is very symbolic that Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov cooperated on the basis of Gogol’s motifs. Nikolaj Gogol’ (1809–1852), a native of the Poltava region, is a famous Russian writer of Ukrainian and Polish ethnicity who lived in Europe for many years. During the epoch of Romanticism he reflected in his fiction the beautiful, mysterious atmosphere of Ukraine and created a new myth of his homeland, based on its history and folklore (Valentynov, Gromov, Ladyžens’kyj: Valjentinov, Gromov, Ladyženskij 2004, 381).

Moreover, all these authors to some degree have been influenced by Michail Bulgakov (1891–1940), a native of Kyjiv, another brilliant Russian writer best known for his novel “The Master and Margarita”, which has been called one of the masterpieces of the 20th century.

And, finally, the brothers Arkadij (1925–1991) and Boris Strugatskij (1933– 2012), great Soviet-Russian science fiction authors of Jewish and Russian origin, whose parents came from Ukraine. The Strugatskij brothers became like a tuning fork for the consciousness of many intelligent people of the Soviet and the post-Soviet era and had a significant influence on Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov.

Hence, these contemporary authors continue a strong fantastic tradition based on a Ukrainian, Russian, Jewish and Polish ethnic background that was developed in Russian by Gogol’, Bulgakov and the Strugatskij brothers. In my humble opinion, this writing tradition of ethnic diversity, unique romanticism, true heroism and self-sacrificing, deep lyricism, critical thinking, soft humor and sharp satire is the soul of Ukraine and it reflects the national identity better than many books written in Ukrainian.

Here the term of national identity needs some clarification from the perspective of postcolonial criticism, because Ukraine is definitely a postcolonial country and, to some degree, our current war is anticolonial too. In the early 1990s works responding to multicultural awareness emerged written by the principal theorists of postcolonial criticism Homi Bhabha, Néstor García Canclini, Stuart Hall, Gayatri Spivak and Paul Gilroy. Homi Bhabha introduces the terms of cultural ‘hybridity’ and ‘hybrid identity’ meaning ‘mixture’ that derived from a biological discourse: “These ‘in-between’ spaces provide the terrain for elaborating strategies of selfhood – singular or communal – that initiate new signs of identity, and innovative sites of collaboration, and contestation, in the act of de-fining the idea of society itself…” (Bhabha 1994, 2). H. Bhabha also refers to this phenomenon as the ‘third space’ – a space where there is a new position that is not only the sum of two parts, but something more. Since then, “hybridity has become a master trope across many spheres of cultural research, theory and criticism, and one of the most widely used and criticized concepts in postcolonial theory.” (Kraidy 2002, 316).

So, the hybrid identity allows for the perpetuation of the local, in the context of the global. It means that Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov give a brilliant example of forming the hybrid variants: national, gender, genre, etc. Two duets (the spouses Djačenko and H. L. Oldie) make the ‘third space’ when 1+1 is more than 2; the trio (2+1: Dmytro Gromov, Oleg Ladyžens’kyj and Andrij Valentynov) is more than 3; the quintet of all of them (2+2+1) is more than 5… They are the masters of ambivalence, of combining local and global, and their works and lives can be a very interesting object of further cultural studies from the contemporary perspective.
But, unfortunately, as Andrij Valentynov argues, these authors exist in a kind of literary ghetto, since they, like other modern science fiction / fantasy writers, “...are together because of circumstances not so much creative but historical and partly accidental... The current fantastic community has been formed because everything extraordinary, not fitting into the old framework, has been pushed to this community.” (Valentynov 2004, 411).

Thus, the main factors that determined some alienation of Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov from the ‘canonical’ contemporary Ukrainian writers are the Russian language and the genre of SF and fantasy. It should be mentioned that in the post-Soviet countries the academic prejudice against speculative fiction is stronger than in the Western world be-cause the totalitarian authorities did not need people with a developed imagination and critical thinking, and only ‘realistic’ works or science fiction about the happy communist future were published after thorough censorship. The years have passed, but we still live within this post-Soviet system of views, and the professors, editors and publishers in many cases are the same or do not think any different.

In the 1990s Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov had to fight for the recognition of fantastic or speculative fiction as an equal genre that could be considered as ‘serious’ literature deserving critical attention and publication. Moreover, even when the books of many Western masters of SF or fantasy were translated into Russian or Ukrainian and were mostly recognized by the readers, critics and publishers in the post-Soviet part of the world, the local authors were still ignored. This is one of the reasons why Dmytro Gromov and Oleg Ladyžens’kyj – who, by the way, have together translated English-language SF and fantasy - took the English-sounding pen name ‘Henry Lion Oldie’ using a merger of their names, Oleg and Dmytro, respectively, and deriving the initials from their family names in Cyrillic (Громов and Ладиженський) (Čornyj 2001, 302-303 ).

To survive in the new market conditions, the local SF and fantasy writers had to achieve the sophistication of the foreign authors and even surpass them, and about twenty years of their successful and diverse writings prove that Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov have accomplished this task.

Generally speaking, any attempt to make science / fantasy fiction better, to cross the genre borders and to approach the artistic level of ‘highbrow’ literature is connected with the following aspects:

1. The concepts and ideas of the book and/or their realization should be original and fresh;
2. The plots are exiting and unexpected, grasping the readers’ attention and letting the authors express old themes with a new twist, while making their message to the readers not banal;
3. The authors try to create and describe in detail the alternative worlds that have much in common with the reality in which we live (for example, the people’s psychology), but with some fantastic elements, making the readers wonder, feel, think and admire;

4. The characters are primarily humans, and their psychology is very believable; it is shown with skill and arouses the readers’ sympathy and understanding;
5. The language is rich and poetic, its style matches the worlds which are de-scribed.
Of course, it is very difficult to fulfil all the aforementioned aspects in every book, but the literary standards of Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov are very high, as can be proven by their aims and background.

First, these authors are very intelligent, educated and read a lot of fiction of high quality in different genres. They know the tracks of world literature and philosophy very well and can find the new paths or passages in the huge forest of human culture.

Second, Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov are skilled plot makers, absorbing the readers’ attention from the first page. They experiment with the traditional quest structure and hero’s journey, making the parallel plot lines, engaging multiple of points of view, decentration, fragmentation, polyphony, collage, open ending and the ‘iceberg method’. Henry Lion Oldie often mixes prose and poetry and applies to the musical forms. Maryna and Serhij Djačenko, who are also screenwriters, use some cinematographic technique in their works.

Third, their imagination, education and background help them to create very believable fantastic worlds where rationality is mixed with irrationality and science – with poetry. Henry Lion Oldie and Andrij Valentynov are great demiurges, but the former tends to be more science fictional and universal, with the huge bulk of worlds including the outer space, while the latter is more concentrated on the past, on the esoteric mysteries of the human history.

Fourth, they all are the masters of psychological prose; moreover, Maryna and Serhij Djačenko are even more focused on the depth of human psyche than on the plot structure or on the well-planned creation of a fictional world. This often brings them closer to mainstream literature than to science / fantasy fiction.

Fifth, Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov are good stylists; their language is rich and poetic. Oleg Ladyžens’kyj and Andrij Valentynov are gifted poets, and their metaphorical thinking makes their imaginary worlds unforgettable.

All these qualities allow the Djačenkos, H. L. Oldie and A. Valentynov to be level with the best contemporary authors, to be read and loved in Europe and America. For this they need some luck, good translators and enthusiastic publishers. At Eurocon (The European Science Fiction Society’s convention) in Kyjiv in 2013 I found out that most Western fans of SF and fantasy knew only the Ukrainian author Andrej Kurkov (born 1961), who writes in Russian and is rather popular in Europe. I dare say that as for the talent and philosophical depth Kurkov is not a whit better than Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov, but he has more opportunities to better promote his stuff in other countries because his wife is English.

Unfortunately, European readers are mostly ignorant of the wonderful worlds created by Andrij Valentynov, a very modest and honorable man, who has no translations of his books except “The Boundary”, a novel written in collaboration with the Djačenkos and H.L. Oldie and translated into Polish in 2004.

According to the information that was kindly given to me by Oleg Ladyžens’kyj, the works by H. L. Oldie have been published in Ukrainian (eight novels), Lithuanian (two novels and one story), Polish (six novels), French (three novels and two stories), Czech (one novel) and Spanish (1 story), but it is a very small part of their work.

As the official site of Maryna and Serhij Djačenko asserts (, they have published sixteen novels in Ukrainian and got recognition from the Polish translators who adapted fifteen of their novels and novellas. Four novels have been translated into English, one novel – into German, one novella – into Estonian and Hungarian, and two stories – into French. Like H. L. Oldie and A. Valentynov, these writers are still waiting for thousands of potential readers in the European countries.

These readers might be interested in a mysterious and heroic Ancient Greece shown in the Mycenaean series of novels by Andrij Valentynov (“Grey Kite”, 1997, and “Diomedes, the Son of Tydeus”, 2000–2001) and the Achaean cycle by H. L. Oldie (“A Hero Must Be Alone”, 1995; “Odysseus, the Son of Laertes”, 2000; “The Grandson of Perseus”, 2011).

The history of Rome in the 1st century BC and especially the famous slave uprising are analyzed from the alternative perspective in A. Valentynov’s novels “Spartacus” (2002) and “The Angel of Spartacus” (2006). The fans of imperial style will recognize the Roman culture in the Pompilians described by H. L. Oldie in the SF Oikoumene series (2006–2015).
The Eastern European history of the migration period is the basis for A. Valentynov’s mythological fantasy in the Oriya cycle (1997–2000).
Medieval France is described in detail by A. Valentynov in the novel “Auvergne Cleric” (1997); the times of the French Revolution are presented by him in the novel “Deserter” (1997) and the WW II period is shown in his novel “Noir” (2013).

The ancient legend about the Tower of Babel is re-interpreted by H.L. Oldie in the novel “The Almshouse” (2001) on a fantasy background resembling Medieval Germany. “The Almshouse” belongs to the Hening series based on European culture. The German legend about the Rat-Catcher of Hamelin is the core of the novella “Burned Tower” (1998) and novel “Aliona and Aspirin” (2006) by Maryna and Serhij Djačenko.

The Spaniards might enjoy the Djačenkos’ variation on Cervantes’ classic, novel “The Last Don Quixote” (2000), A. Valentynov’s exiting interpretation of quixotic motifs in his novel “Hola” (2001) and the splendid description of the Spanish-like culture in H. L. Oldie’s novel in three books “Spurt Flight” (2014–2015) from the Oikoumene series.

Italy and Ukraine of the middle of the 17th century are presented in A. Valentynov’s dynamic novel “The Heavens Are Rejoicing” (2000). In H. L. Oldie’s Oikoumene series the planet Borgo has many features of Italian culture.

France, Denmark, England, Germany, Russia, Poland and the other lands of the first half of the 19th century are the setting of “Alumen” (2011), a trilogy by H. L. Oldie and A. Valentynov about the metaphysical struggle between the rational scientific and irrational occult forces.

The criminal and magic history of the Russian Empire is interpreted by H. L. Oldie in the novel in two books “The Magus in Law” (1999). Russia is presented rather ironically as the planet Sechen in H.L. Oldie’s Oikoumene series and is described rather tragically in A. Valentynov’s moving cycle “The Eye of Power” (1996–1997, 2010–2011) based on the Russian and Soviet history of the 20th century. A. Valentynov often comes back to the period of the Civil War in Russia (1917–1922), in which Ukraine was involved as its part; his great pain for the destroyed culture and loss of the best people is felt in the other novels about those times “The Phlegethon” (2000) and “Captain Philibert” (2007).
The technologically and ethically developed planet Largitas, the main setting for the novel “Urbi et Orbi, or To the City and To the World” (2010–2011) from H. L. Oldie’s Oikoumene series, stylistically looks like Holland, Austria-Hungary or Germany of the 19th or early 20th centuries.

Poland or Western Ukraine provides the atmosphere of many books by the writers including Maryna and Serhij Djačenko’s novels “Age of Witches” (1997) and “The Execution” (1999), and H. L. Oldie’s novel “Stepchildren of the Eighth Commandment” (1996).

Ukraine of the late 20th or early 21st centuries is presented in H. L. Oldie’s “Noperapon, or the Image and Likeness” (1998), in the dilogy “We Are to Live Here” (1999) and the novels “Shooter” (2006) and “Fortress of My Soul” (2013) by H. L. Oldie and A. Valentynov, in A. Valentynov’s novels “Canis Major Constellation” (2002), “Daimon” (2006), etc.
The above-mentioned books, which are directly based on European culture and/or background, form at least one third of the fiction by Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov. However, since these authors are primarily focused on universal values, most their works like Henry Lion Oldie’s series “The Abyss of Hungry Eyes” (1991–2001), Andrij Valentynov’s “Noosphere” cycle (2003–2013), Maryna and Serhij Djačenko’s novels “The Cave” (1998), “Armaged-dom” (1999), “Pandem” (2003), “Metamorphoses” cycle (2007–2010) and many others can be accepted with big interest in many countries.

The deepest themes of reality, history, humanity, good, evil, life, death, choice, responsibility, love, hatred, forgiveness, revenge, violence, atonement, power, role of literature and art, evolution, revolution, memory, hope, faith and many other eternal issues are often studied by these writers from a new perspective, changing the reader’s perception of them.

As Serhij Djačenko says, “Novels, novellas and short stories in which the theme of love is the main or one of the main factors of the plot, and where this love is studied from a perspective that is impossible and paradoxical for the ‘ordinary’ literature, is the most interesting niche in fiction for me. This is where fantasy can say something new, can open interesting horizons for our mind and heart. Here colossal reserves of creativity, psychology, sociology and prognostics are hidden. This is what prepares a new human...

But it is also the most difficult field, like a minefield. If you stumble on implausibility, on triviality, everything will be in vain…” (Djačenko 2003).

What helps Maryna, Serhij, Oleg, Dmytro and Andrij to survive on the minefield of modern literature, to continue writing and believing that they will make this world a little better, to hit their targets almost every time? As a H. L. Oldie fan, I often remember the words from “Odysseus, the Son of Laertes”, said by Telemachus (another name of Eros, god of love): “You should just really love this bow... love this arrow very much... You should love your home-land, this island on the outskirts forgotten by gods… You should really, really love your wife... your son...” (H. L. Oldie 2001, 8). I am sure that these writers really love their books like their children. They share their thoughts and feelings with us, waiting for our feedback. Of course, they will be very glad to get this feedback from European readers too.

“Since the book cannot be locked only into one country,” Serhij Djačenko asserts, “because any writer is a being belonging to the noosphere, to the intellectual covering of our planet… Another thing is that the writer won’t be interesting if he or she does not have the sense of homeland. Ukraine is a wonderful country with its unique history, nature and mentality, and it can be interesting to the world if the writer conveys it through his or her memory of childhood, through the emotions of the youth. It does not matter in what language it is done, let it be Chinese if this is about a Chinese who has grown up in Ukraine” (Djačenko, 2005, 466). Serhij Djačenko reminds us that the term ‘noosphere’ was suggested by Vladimir Vernadskij (1863–1945), the descendant of the Zaporožian Cossacks and the founder of the Ukrainian Academy of Sciences. Be-sides, as it has been said above, Andrij Valentynov devoted a whole cycle to the phenomenon of noosphere.

To sum up, I would like to say that the lives and creative writing of Maryna and Serhij Djačenko, Henry Lion Oldie and Andrij Valentynov prove that a true contemporary Ukrainian identity in the globalized world includes high intelligence, national hybridity, keeping the balance between Ukrainian, Russian, Jewish and Polish ethnic features, respect of the other cultures, sincere patriotism, romanticism, self-sacrifice, diligence, critical thinking, humor, originality, in-dependence, ability to cooperate and help others. They are looking for readers who are educated, generous, emotional, ironical and ready to fight for love, friendship, justice, freedom and dignity. These writers are able to connect to the magnificent noosphere created by the great minds of the whole world during many centuries and to bring to this noosphere their ideas and inspiration. Maybe, it is the best way for Ukraine’s integration into the European community be-cause our people should not only ask for help, sympathy and understanding, telling about our tragic past and present. Ukraine has many talented people who can give a lot to Europe, who can be equal partners, at least in the sphere of culture.

Andreeva, Ju. (2013): Triumvirat: Tvorčeskie biografii pisatelej Henry Lajona Oldi, Andreja Valentinova, Marini i Sergeja Djačenko. Sankt-Peterburg.
Bhabha, H. K. (1994): The Location of Culture. London.

Čornyj, I. (2001): ‘Filosofskij boevik’ H. L. Oldi. In: H. L. Oldie. Pasynki vos’moj zapovedi. Moskva, 302-330.

Djačenko, M., Djačenko, S. (2003): Interv’ju. In: Mir fantastiki. Retrieved from: [24.09.2016].
Djačenko, M., Djačenko, S. (2005): Dva v odnom: interv’ju dlja eženedel’nika “Kievskij Telegraf”. In: M. Djačenko, S. Djačenko. Avantjurist. Moskva, 461-469.
Gromov, D., Ladyženskij, O. (2000): Kriptoistorija ot Andreja. Retrieved from: [24.09.2016].

Kraidy, M. M. (2002): Hybridity in Cultural Globalization. In: Communication Theory 12 (3), 316-339.
Lee, Y. (2012): Modern Education, Textbooks, and the Image of the Nation:

Politics and Modernization and Nationalism in Korean Education. New York.
Oldie, H. L. (2001): Odissej, syn Laerta. T. 2. Moskva.
Valentinov, A. (2004): Kto v getto živet? (Pisateli-fantasty v džungljach sovremennoj slovesnosti). Moskva.
Valentinov, A., Gromov, D., Ladyženskij, O. (2004): Ukrainskaja fantastika: včera. Moskva.

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"Prodigal Son. Book 2: The Fugitive", the 2nd book of new trilogy-novel from space opera epic "Oikoumene" by Henry Lion Oldie is coming soon in Russian in hard cover (Azbooka Publisher - Azbooka-Atticus Publishing Group, Russia, St. Petersburg) in September, 2018. Cover art by Vladimir Bondar (Ukraine).

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Today, I walk away.
Today, I walk away.

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Henry Lion Oldie just passed to "Azbooka" Publisher (St. Petersburg, Russia) the second book "The Fugitive" of the new novel "Prodigal Son" from space opera epic "Oikoumene". It's the 2nd book of the fifth novel of epic "Oikoumene" started 10 years ago. If all will be OK, the book will be published in hard cover in September, 2018.

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A quotation from “THE SONGS OF PETER SLIADEK” by Henry Lion Oldie:

The forest turned out to be the ground that struck the back of his head, but instead of fear, there was peace. The clang of weapons sounded as a burial peal, fog swirled around him like a shroud; and when it scattered, Albert saw a strange procession. Absolutely impossible pairs, creations of delirium, emerged out of the mist one by one, drawing the gray strands apart. Horrible creatures walked hand in hand with angels in snow-white gowns, fish-tailed deer embraced the waist of a naked beauty, a sharp-fanged hare tenderly led an innocent boy.
All of them were in pairs: people on the right hand, monsters on the left.
It was the ball of contrasts.
It seemed that the beautiful creatures did not notice the ugliness of their companions: thin fingers caressed disheveled fur, a delicate shoulder pressed against festering wounds, a toad’s mouth—with a quivering, forked tongue—merged in a kiss with ruby lips, a charming foot neighbored a webbed paw, and the face of a saint stood next to a snout or a beak.

“The Songs of Peter Sliadek” is a historical adventure fantasy novel by Henry Lion Oldie.
“The Songs of Peter Sliadek” on Amazon:
“The Songs of Peter Sliadek” on Smashwords:
Book trailer to “The Songs of Peter Sliadek”:

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