The article by Les Beley discusses how Ukrainian artists and illustrators are using their craft to respond to the Russian invasion. Artists like Andriy Yermolenko, Oleksandr Grekhov, Nikita Titov, and Maksym Palenko have created symbolic and often deeply symbolic works that have gained popularity on social media and have been displayed across Ukraine. The artworks include reimagined city emblems, reinterpretations of historical monuments, and posters that communicate with both a domestic and international audience. The pieces often incorporate Ukrainian folklore, national symbols, and references to historical events to express resistance and the impact of the war. The article highlights the role of art in wartime as a form of protest and a means to rally support for Ukraine while also attempting to 'cancel' Russian cultural symbols.

The article by Les Beley discusses the impact of the ongoing war in Ukraine on the country's literature, particularly focusing on the emergence of 'veteran' literature. It highlights the significance of Taras Shevchenko, a foundational figure in Ukrainian literary identity, and how his legacy resonates with contemporary events. Ukrainian writers have responded to the war in various ways, with some joining the military, others providing support, and many reflecting the conflict in their work. The article profiles several Ukrainian writers, such as Serhiy Zhadan, Lyubov Yakymchuk, Volodymyr Rafeenko, and Stanislav Aseev, detailing their contributions and experiences related to the war. It also touches on the debate between professional writers and war veterans regarding the authenticity and quality of wartime literature. The piece suggests that the current war experiences may lead to a golden age in Ukrainian literature, echoing the 19th-century Romanticist rhetoric of Shevchenko.

A ceramic jug shaped like a rooster, known as the Vasylkiv cockerel, has become a symbol of resistance in Ukraine after one was found intact in the ruins of a bombed building in Borodianka. The rooster, designed by Prokip Bidasyuk and mass-produced in Vasylkiv, has deep cultural significance in Ukrainian folklore. Its survival amid destruction has inspired a sense of resilience, further popularized by a web poster created by artist Oleksandr Grekhov. The symbol has even reached international leaders, with British Prime Minister Boris Johnson and Ukrainian President Volodymyr Zelenskyy receiving rooster jugs as gifts.

The article explores the tomato farming industry in Borzhavske, a village in the Carpathian region of Ukraine known for its tomato production. It delves into the history of tomato cultivation in Europe and the local term 'paradychky' derived from Hungarian. The narrative follows the author's visit to the village, interactions with local farmers, and the challenges they face, including the physical toll of farming and the economic pressures. The story highlights the community's resilience, the evolution of farming practices over the years, and the skepticism about the future of tomato farming in the region.

The functioning and distribution of the Ukrainian language are traditionally studied from two perspectives: dialectological and sociolinguistic. The last census in Ukraine was conducted in 2001, and since then, there have been significant changes including territorial occupations, internal and external migration, and demographic shifts. The 2001 census data shows that 32.6 million respondents (67.5% of Ukraine's population) consider Ukrainian their native language. However, in cities, dialectal features are blurred due to koineization, and new linguistic varieties emerge. The article discusses the dialectal and urban areas of the Ukrainian language, noting that dialectal areas have higher usage of Ukrainian compared to urban areas, where Russian is still stereotypically considered the 'prestigious city language.' The article also highlights the need for updated census data to better understand the use of Ukrainian language and its dialects, and suggests that future language legislation should consider regional specifics and the needs of national minorities to protect the diversity of Ukrainian dialects.

Ihar Logvinaw discusses the current state of the Belarusian language and literature, noting the dominance of Russian but a growing interest in Belarusian among the youth, evidenced by popular alternative language courses. Despite some statements by President Alexander Lukashenko in defense of the Belarusian language, there have been no tangible results. Belarusian literature accounts for about 9% of the country's book production, with private publishers facing more problems than support from the state. The average print run for Belarusian books is between 100 to 2,000 copies. Logvinaw characterizes contemporary Belarusian literature as shifting from classic rural themes to urban issues, with strong positions in historical prose and national-oriented non-fiction. He also discusses the challenges of being an independent Belarusian publisher, including conflicts with the government and the importance of reader support. Logvinaw's publishing license was revoked over a scandal with a member of the Writers' Union, and he describes the two main writers' organizations in Belarus, one pro-government and one independent. He concludes by reflecting on the future of Belarusian culture, predicting a bilingual situation with alternative cultural institutions becoming more active due to state oppression and reduced funding.