THE MOTIF OF ESCAPE IN YAROSLAV MELNYK`S NOVEL «DISTANT SPACE»

Abstract

The article examines the motif of escape in the novel «Distant Space» by the modern Ukrainian writer Yaroslav Melnyk. Upon reviewing critical literature, the genre classification of the work was identified as a hybrid, encompassing elements of a dystopian novel intertwined with features of science fiction, allegory, adventure, psychological and mystical fantasy, as well as a thriller novel. Its intertextual space covers the works of Ray Bradbury, Ken Kesey, George Orwell, V. Vynnychenko, H. Skovoroda, as well as V. Domontovych, M. Khvylovy. It has been emphasized that the plot collision of the metamodernist novel by Ya. Melnyk has its roots in the biblical story of Adam’s and Eve’s expulsion from paradise. The polyphonic and didactic character of the novel is revealed: everyone has their own truth, the author convinces, and makes it possible to hear everyone. Аt the same time, the book teaches to be tolerant, and to make an informed choice in difficult life situations.The artistic vision of space is embodied in the novel in three locations: metropolis (the land of blind people), Transparent Spot (the camp of blinded rebels who seek to destroy the metropolis), Quiet Corner (elite village of the sighted). The three specified locations of the novel are three options of fate that the author offers to his protagonist. Whenever the protagonist declines to adhere to the suggested course, the outcome of such ventures leads to three escapes in pursuit of a balanced cosmos—distant space.Gabra’s three escapes are also three women. Lioz, Niya, Natalie, each in their own way, in the course of the story become close to the main character. This aspect of the relationship gives the story piquancy, intimacy, and simultaneously dramatizes it. Relations with Lioz have no prospects, because it remains an organic part of the ugly pragmatic world of the metropolis. Beautiful Natalie is completely indifferent to the distant space of the main character. Instead, the «cautious optimism» of the novel can be traced in the relationship with Nia. The ethical and visual aspect for the artistic persuasiveness of the story is also emphasized.In the image of the main character Gabr Silk, the author shows a person who has to compete with unfavorable circumstances for the right to be happy, to be himself, to live a private life, even a marginal one, not involved in social and political currents. At the same time, indecisiveness, doubts about the expediency of one’s active actions lead to the fact that other people usually solve his problems (Oks, Nia).