Ever in My Heart

Total Page:16

File Type:pdf, Size:1020Kb

Ever in My Heart Acknowledgements: How I long to have the faith of Abraham, or David, believing in God’s promises and his suffi- ciency! But I can be such a fickle lamb, forgetting the care and leading of my shepherd, baaing in fear or even despair when the skies overhead turn dark. Such was the situation when I wrote Oksana. Overwhelmed by deadlines and the awesome task of writing this story—a story of faith and courage, a story about a man and a woman who began three generations of faith—I stared at the blinking cursor of the computer and bawled. Thankfully, God is not fickle or afraid. He is sufficient and has the right words for every writer. As I pulled my laptop onto my lap and began tapping, one verse hung in my mind: “You are my witnesses,” declares the Lord, “and my servant who I have chosen, so that you may know and believe me and understand that I am he” (Isaiah 43:10 NIV). God is who He says He is—my provider, my sustainer, my encourager. And, as Oksana poured out onto the page, I saw this verse come alive in my life. Never had a story emerged with such passion from my heart as this one did. Never had I sensed God’s hand in writing more than in the birth of Oksana. Never did my faith grow as it did when I flung myself into God’s hands and lived out An- ton and Oksana’s story—a story of trusting God, one step at a time, believing in his faithfulness to all generations (or, all chapters, as the case may be!). I wish I could see ahead to my children’s lives, to know that they will walk in faith and that their lives will be fruitful for the Lord. But I can’t-I can only put them into God’s hands and walk faith- fully today. Oksana and Anton’s story has encouraged me that God is at work in this generation and the next. His faithfulness in my life has included the following people who have encouraged me on this journey: Susan K. Downs, thank you for participating in this journey for me and for being an instrument God uses to remind me of His faithfulness and blessings! I will forever be grateful for your friendship and the privilege of writing this series with you. Rebecca Germany and Barbour Publishers, for taking an idea that seemed a little outlandish and be- lieving in it. For making the heirs of Anton come to life and for believing in two writers with a heart for Russia. I am honored and blessed to work with you. Tracey Bateman, for walking this journey of faith with me and praying for me, and for being friend and encourager. God blessed me so much with your friendship. My children, David, Sarah, Peter, and Noah, who prayed with me and supported me. I am so proud to be your mother and watch you grow into children who love God. My sweet husband Andrew, who shows me every day what true courage is and what it means to love sacrificially. You are my hero and my prince. “Grow old with me . the best is yet to be!” EVER IN MY HEART SUSAN MAY WARREN HEIRS OF ANTON SERIES BOOK FOUR 1 Ever in My Heart © 2005 by Susan May Warren All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without written permission of the publisher. This book is a work of fiction. Names, characters, places, and incidents are either prod- ucts of the author’s imagination or used fictitiously. Any similarity to actual people, or- ganizations, and/or events is purely coincidental. Scripture quotations are taken from the King James Version of the Bible. Scripture quotations are also taken from the HOLY BIBLE, NEW INTERNA- TIONAL VERSION@. NIV®. Copyright 1973, 1978, 1984 by International Bible So- ciety. Used by permission of Zondervan. All rights reserved. For more information about Susan May Warren, please access the author’s websites at the following Internet addresses: www.susanmaywarren.com Printed in the United States of America. 54321 2 PROLOGUE PSALM 100:5 NIV - For the LORD is good and his love endures forever; his faithfulness continues through all generations. ALEXANDER PALACE, TSARSKOE SELO SOUTH OF PETROGRAD, RUSSIA 27 FEBRUARY 1917 From the outside looking in, she lived the fairy tale—a peasant caught up in a princess life. But regardless of what the revolutionaries and dissidents thought about those who served the royal family, Oksana Nikolaevna Terekhova had endured her fair share of suf- fering in her twenty-plus years. She possessed no immunity from heartbreak, no royal dis- pensation of never-ending bliss. From the inside looking out, the fairy tale was fast turning into a tragedy before her very eyes. Starting with her hair. She still couldn’t bear to look in the mirror. True, the pinned damask drapes allowed in only the barest of light, but she could trace her appearance in her thoughts. Crude, bar- ren. Oksana ran her fingertips along her now naked scalp, stripped of its crowning glory. A bad case of the measles had caused her hair to fall out in clumps, and the mantle of sores that covered her had made it necessary for Yulia to shave Oksana’s head to keep the gooey discharge from caking what little of her hair remained. In the grand scheme of things, her humiliation should be of no consequence, she knew. She was just an orphan, raised to serve the needs of Romanov royalty. But she couldn’t help but think she’d die of embarrassment before her hair returned. If the measles or the revolutionists didn’t kill her first. Revolutionists. This morning’s news from Petrograd brought the bleak report that the capital city had fallen into rebel hands. The insurgent horde that fought to bring down the monarchy had already seized control of the village of Tsarskoe Selo. They now pushed toward the Alexan- der Palace grounds, intent on attacking the tsar’s residence. Had anyone bothered to tell the revolutionaries that Tsar Nikolai wasn’t at home? As if the threat of an imminent hostile coup wasn’t stress enough to bear, an outbreak of measles had erupted among the tsar’s children and confined them to bed. For over a week now, Oksana, too, had suffered from the disease, quarantined from all human con- tact save that of Yulia Petrovna, her fellow servant and best friend. If she closed her eyes, she could pretend away the humiliation and instead find herself cruising the Gulf of Finland on summer holiday. 3 The gentle scent of lilacs and lilies surrounded Oksana. She opened her eyes. The tsarina’s candle glowed in the chamber. Terror balled in her throat. A midnight visitation from Her Royal Majesty Tsarina Alexan- dra herself did not portend good news. Oksana’s eyes ached at the unaccustomed brightness. She swiped at her tears and struggled to rise. “Don’t get up, child. I know you’re ill.” The tsarina spoke in English, her voice as soft as the candle’s radiance. “Poor thing. You look just like my girls.” Both her choice of language and her tone added fresh credence to Oksana’s fears. What the tsarina had to say she must not want to have overheard and understood by a passing guard. However, that Oksana’s misery held such esteemed company served to ease her embarrassment at her wretched appearance. She eased back on her pillow. Dressed in her invariable Red Cross uniform, the tsarina looked more apparition than human—pallid in color, cadaverous in form. She set her candle on the nightstand then perched herself on the bedside chair. “I regret having to disturb you when you’re so sick.” Oksana recoiled beneath the royal’s scrutiny. Her fever welled in her chest. Why was Her Majesty staring at her? No, not at her. Through her. The tsarina shook off her trance and reclaimed her thought. “But our present circum- stance dictates that I speak with you.” She sighed and looked away. “I’ll try to be brief.” The flickering candlelight sent the tsarina’s silhouette on a nightmarish dance across the ceiling and ornate plaster walls. “We all pray this season of rebellion is soon suppressed and order restored to our land, but in the event such is not ordained…” Oksana’s pulse roared in her ears. She swallowed hard. Did the tsarina truly believe this rebellion, this affront to everything noble and just, might overtake, even overthrow so many centuries of holy rule? Tsarina Aleksandra’s gaze fixed on her hands. She smoothed and picked at the folds of her uniform. “As you know, the tsar is a thorough and deliberate man, and although he, as do I, places his full trust in our troops’ strength and abilities to protect us, he feels we should prepare for any eventuality. I’m certain, as always, I can trust in your discretion concerning any matter we discuss.” “Of course, Your Majesty.” Oksana’s reply came out wobbly and weak. She cleared her throat and started to reiterate. “I—” The tsarina spoke over her. “Child, I’ve come to extend an offer to release you from service to our family.” All remaining color drained from the royal mother’s face, save the deep burgundy circles that ringed her eyes. “You must flee to safety while the opportunity for such action still exists.” 4 “No—” Oksana’s protest barely made it past her lips.
Recommended publications
  • Ukrainian Embroidered PPE in the Time of COVID-19
    Pandemic, but Make It Fashion 27 Pandemic, but Make It Fashion: Ukrainian Embroidered PPE in the Time of COVID-19 Katya Chomitzky University of AlBerta Edmonton, CanaDa Abstract EmBroiDereD panDemic wear has Become one of the newest cultural fashion trenDs to emerge in Ukraine anD within its CanaDian Diaspora. Jis article explores the ways in which emBroidery as a traDitional form of culture retains meaning within moDern contexts, while also serving as a vehicle for experimenting with atypical applications of cultural symbols and representations. roughout the COVID-19 pandemic, cloth masks have been recommended by public health officials, including the World Health Organization, as a preventative measure to limit the spreaD of the virus. On the Basis of Digital fielDwork, I Discuss the meanings anD inspirations behind these emBroiDereD masks, while conDucting a material culture analysis of the oBjects themselves. I argue that, through a suBversion of their common purpose— to hide one’s identity— masks have been used in the pandemic as an open/performative display of culture. I contend that this Display acts as a means to promote traDition through ephemera anD assert cultural importance. Jis, coupled with the personal/private use of embroidery as a protective talisman, has fueled a trenD of emBroidereD personal protective equipment in popular culture. In this article, I examine the purpose, use, and form of these masks in order to bring light to the ways in which cultural traDitions anD objects act (and developed prevalence) as a form of pandemic response. IntroDuction As an integral part of Ukraine’s national cultural history, emBroidery retains a prolific heritage through its use in folklore, traditional costume, and various household and spiritual objects.
    [Show full text]
  • Treasures of Ukrainian Folk Arts
    Міністерство освіти і науки України Полтавський національний педагогічний університет імені В.Г.Короленка Факультет філології та журналістики Кафедра англійської та німецької філології Сосой Галина Станіславівна TREASURES OF UKRAINIAN FOLK ARTS Навчально-методичний посібник з англійської мови для студентів IІ-V курсів факультету філології та журналістики, спеціальність «Філологія. Мова та література (німецька)» Полтава – 2014 УДК 7. 011. 26 (477) (072) = 111 ББК 85. 12 (4Укр) С 66 Затверджено на засіданні вченої ради Полтавського національного педагогічного університету імені В.Г. Короленка. (Протокол № 11 від 29 травня 2014 року) Укладач – Cосой Г.С., ст. викл. кафедри англійської та німецької філології. Рецензенти: Вишня Н.Г., кандидат філологічних наук, доцент, зав. кафедри загального і слов’янського мовознавства та іноземних мов ПНПУ ім. В.Г. Короленка. Парій А.В., професор кафедри іноземних мов Полтавської державної аграрної академії. Сосой Г.С. «Treasures of Ukrainian Folk Arts» : навч.-метод. посіб. з англ. мови для студентів ІІ-V курсів факультету філології та журналістики, спеціальність «Філологія. Мова та література (німецька)» / Сосой Галина Станіславівна. – Полтава : ПНПУ імені В.Г. Короленка, 2014. – 99 с. Навчально-методичний посібник «Treasures of Ukrainian Folk Arts» являє собою збірник текстів та вправ, складений з урахуванням програми з англійської мови для студентів ІІ- V курсів факультету філології та журналістики, спеціальність «Філологія. Мова та література (німецька)». Мета навч.-метод. посібника – у цікавій, доступній формі допомогти студентам, які почали вивчати англійську мову як другу іноземну, розвивати навички усного мовлення, читання, літературного перекладу, збагатити словниковий запас в цілому, закріпити граматичний матеріал з англійської мови. Посібник складається з 23 оригінальних текстів, пов’язаних з життям, народними традиціями та ремеслами та системи тренувальних вправ на створення та закріплення навичок мовлення та усних вправ творчого характеру.
    [Show full text]
  • Hate Speech in the Media Landscape of Crimea
    HATE SPEECH IN THE MEDIA LANDSCAPE OF CRIMEA AN INFORMATION AND ANALYTICAL REPORT ON THE SPREAD OF HATE SPEECH ON THE TERRITORY OF THE CRIMEAN PENINSULA (MARCH 2014 — JULY 2017) Kyiv — 2018 UDC 32.019.5:323.266:327(477.75+47 0) Authors: Oleksandr Burmahyn Tetiana Pechonchyk Iryna Sevoda Olha Skrypnyk Review: Viacheslav Lykhachev Translation: Anastasiia Morenets Proofreading: Steve Doyle Hate Speech in the Media Landscape of Crimea: An Information and Analytical Report on the Spread of Hate Speech on the Territory of the Crimean Peninsula (March 2014 – July 2017) / under the general editorship of I. Sedova and T. Pechonchyk. – Kyiv, 2018. — 40 p. ISBN 978-966-8977-81-7 This publication presents the outcome of documenting and classifying facts on the use of hate speech on the territory of the occupied Autonomous Republic of Crimea and city of Sevastopol from April 2014 to July 2017. This publication uses material from mass media that have been disseminated in the territory of Crimea since the occupation of the peninsula by the Russian Federation, as well as information from open sources, including information resources from the authorities of Ukraine, Russian Federation and Crimean de-facto authorities, Crimean Human Rights Group and Human Rights Information Centre. This publication is intended for the representatives of state authorities, educational and research institutions, diplomatic missions, international, non-governmental and human rights organizations Crimean Human Rights Group (CHRG) — is an organization of Crimean human rights defenders and journalists aimed at promoting the observance and protection of human rights in Crimea by documenting the violations of human rights and international humanitarian law on the territory of the Crimean peninsula as well as attracting wide attention to these issues and searching for methods and elaborating instruments to defend human rights in Crimea.
    [Show full text]
  • Belarusian Challenge Book
    The Belarussian Challenge book 1 Contents Preface. How to use the Challenge book ........................................................................................................... 3 History of Hampshire North/Belarus link ......................................................................................................... 4 Challenge 1. Meet the Belarus ........................................................................................................................... 5 Challenge 2. Belarusian mythological characters .............................................................................................. 8 Challenge 3. Belarusian cuisine....................................................................................................................... 10 Challenge 5. Belarusian folk dance ................................................................................................................. 17 Challenge 6. Belarusian literature ................................................................................................................... 18 Challenge 7. Belarusian art and crafts ............................................................................................................. 19 Don’t forget to share results of your work on Facebook. ............................................................................... 27 Challenge 8. Big game Friend of Belarusian guides ....................................................................................... 27 Supplement one. Game «What do
    [Show full text]
  • Toward Textiles
    toward textiles © 2015 John Michael Kohler Arts Center, Sheboygan, WI toward textiles Contents 3 Material Fix Alison Ferris 9 Ebony G. Patterson: Dead Treez Karen Patterson 11 Joan Livingstone: Oddment[s] Karen Patterson 13 Ann Hamilton: draw Alison Ferris 14 Sandra Sheehy and Anna Zemánková: Botanical Karen Patterson 16 Carole Frances Lung: Factory To Factory Karen Patterson 17 Checklist of Works Cover: Anne Wilson, Dispersions (no. 24, detail), 2013; linen, cotton, thread, and hair; 25 ¼ x 25 ¼ in. Courtesy of the artist and Rhona Hoffman Gallery, IL. Photo: Adam Liam Rose. MATERIAL FIX Alison Ferris “I worry that the information age is making us very good at symbolization at the expense of bringing us into contact with that which we do not know and for which we have no categories.”1 —Laura U. Marks In recent years, fiber art has eluded characterization as it has infiltrated traditional art practices and expanded into installation and performance. As fiber-based art has grown more mainstream, however, its material-based, multidisciplinary practice risks being compromised, overlooked, or assimilated by the contemporary art world. Material Fix is a contemplation of fiber’s unique material specificity and the ways a range of artists join process with current theoretical and aesthetic concerns. The exhibition examines the manner in which the artists in Material Fix insist on the materiality of their work, Jen Bervin, The Dickinson Fascicles: The Composite Marks of Fascicle questioning the detached sense of vision associated 28, 2006; cotton and silk on cotton and muslin; 72 x 96 in. Courtesy of with this digital age where appearances are often separate the artist.
    [Show full text]
  • The Pattern of Ukrainian Canadian Weddings* Українські Весілля В Канаді
    ЕТНІЧНА ІСТОРІЯ НАРОДІВ ЄВРОПИ Sogu HONG Seoul THE PATTERN OF UKRAINIAN CANADIAN WEDDINGS* Соґу ГОНҐ Сеул УКРАЇНСЬКІ ВЕСІЛЛЯ В КАНАДІ У статті автор розглядає українське весілля в Канаді протягом останніх п’ятнадцяти років. Опис ґрунується, головним чином, на власних польових матеріалах, зібраних в Едмо- нтоні. Автор поділяє весілля на три етапи: передвесільний, весільний (богослужіння і при- йом) і післявесільний. В кожному етапі виділяються українські елементи, зокрема символи і обряди, які виражають українську ідентичність. Ключові слова: українські канадці, весілля, обряди, етнічна ідентичність, фольклор. I. Intorduction Ukrainian Canadian weddings are syntheses of traditions and rituals from the ancestral homeland and the new environment. Earlier traditions were adapted in the creation of new, modified practices. Once an initial Ukrainian-Canadian structure was established, it continued to change throughout the last century. The history of the Ukrainian Canadian wedding can be divided into two time periods: before and after 1945. Surprisingly, few systematic ethnographic studies on Ukrainian Canadian weddings of this first period have been published. In many cases, Ukrainian wedding customs were partially described in discussion of other issues. Swyripa discussed a number of sources related to Ukrainian Canadian weddings from a historian’s perspective by using wedding records as a research resource1.According to Swyripa (1993), marriage was an area where the Canadian environment had a significant impact on and joined forces with the imperatives of the Ukrainian community to affect both attitudes and practices (p. 79). The issues that would dominate discussions about Ukrainian Canadian marriages had all been raised by 1910. For example, it has been claimed that for twenty-five or thirty dollars, Ukrainian immigrants routinely "sold" their thirteen- and fourteen-year-old daughters into marriage (p.
    [Show full text]
  • Os Potenciais Narrativos Do Bordado No Traje De Cena
    UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÃO E ARTES Departamento de Artes Cênicas MARIA CELINA GIL Os potenciais narrativos do bordado no traje de cena SÃO PAULO 2018 MARIA CELINA GIL Os potenciais narrativos do bordado no traje de cena Dissertação Dissertação apresentada ao programa de Pós- graduação em Artes, Área de Concentração Teoria e Prática do Teatro, Linha de Pesquisa História do Teatro, da Escola de Comunicação e Artes da Universidade de São Paulo, para a obtenção do título de Mestra em Artes. Orientador: Prof. Dr. Fausto Roberto Poço Viana SÃO PAULO 2018 Autorizo a reprodução total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. NOME: GIL, Maria Celina TÍTULO: Os potenciais narrativos do bordado no traje de cena Dissertação apresentada à Escola de Comunicação e Artes para a obtenção do título de Mestra em Artes. Aprovada em: _______________________ Banca examinadora: Orientador: Prof. Dr. Fausto Roberto Poço Viana Instituição: CAC ECA USP Julgamento:________________________ Assinatura:____________________ Prof. Dr. __________________________ Instituição:_____________________ Julgamento:________________________ Assinatura:____________________ Prof. Dr. __________________________ Instituição:_____________________ Julgamento:________________________ Assinatura:____________________ São Paulo, _____________________________________________________ de 2018. Para mamãe e vovó, que me ensinaram a amar as linhas, as palavras e as narrativas AGRADECIMENTOS Minha mãe e minha avó, pelo apoio durante a pesquisa e a vida. Obrigada por sempre me incentivarem a ser mais. Vocês são tudo. Amo vocês. Fausto, por ser o melhor orientador (além de amigo) que alguém poderia querer. Que sorte a minha cruzar meu caminho com o seu em 2014.
    [Show full text]
  • Discovering Ukrainian Culture: Issues in Practice
    MINISTRY OF EDUCATION AND SCIENCE OF UKRAINE DISCOVERING UKRAINIAN CULTURE: ISSUES IN PRACTICE A resource book for students Edited by YAKIV BYSTROV Vinnytsia Nova Knyha 2013 ББК 81.2Англ УДК 168.522(477):811.111 У 45 Рекомендовано Міністерством освіти і науки, молоді та спорту України як навчальний посібник для студентів вищих навчальних закладів (лист № 1/11–18468 від 29.11.2012 р.) Колектив авторів: Бистров Я. В., Заграновська О. І., Ікалюк Л. М., Кульчицька О. О., Малишівська І. В., Мінцис Е. Є., Павлюк І. Б., Панькова Т. В., Петрина О. С., Решетнікова А. Є., Скібіцька Т. В., Телегіна Н. І. Рецензенти: Гудманян А. Г. — доктор філологічних наук, професор Петренко О. Д. — доктор філологічних наук, професор Мельник Ю. П. — кандидат філологічних наук, доцент Бистров Я. В. У 45 Українська культура в англомовній інтерпретації = Discovering Ukrainian Culture: Issues in Practice : навчальний посібник для студентів вищих навчальних закладів / [Бистров Я. В., Заграновська О. І., Ікалюк Л. М. та ін.] ; за заг. ред. Я. В. Бистрова. — Вінниця : Нова Книга, 2013. — 152 с. ISBN Посібник є результатом практичного втілення творчої інноваційної ідеї авторсь кого колективу — англомовної інтерпретації репрезентативних блоків українсь кої соціокультурної дійсності. Тексти країнознавчого та культурологіч- ного змісту, етапна побудова та багатоаспектний характер завдань мають на меті оптимізувати розвиток лінгвокультурної компетенції фахівців, які застосовують англійсь ку мову у професійній діяльності. Для студентів старших курсів гуманітарних спеціальностей
    [Show full text]
  • The Ukrainian Weekly 1978
    СВОБОДА^ SYOBODA П І УКРАЇНСЬКИЙ ЩОлІННИК ЧИЮ?' ЧКЙАІ N 1AN ОЛІІУ і j ENGL1SH-LANGUAGE WEEKLY EDlTlON У VOL. LXXXVШ No. 189 THE UKRAINIAN WEEKLY SUNDAY, SEPTEMBER З, 1978 25 CENTS Third WCFU is principal topic Fear new trial for Yins гоіпіапNEW YORKWeek, N.Y. - Dissident l of UCCA executive board meeting sources in Ukraine fear that the KGB is preparing another trial for Petro vins, the 21-year-old member of the Kiev Discuss 45th anniversary of famine Helsinki group who was sentenced this past spring to one year in prison for NEW YORK, N.Y. - Preparations which are allowed three delegates each. "parasitism," reported the press ser– for the upcoming Third World Con– Organizations which have membership vice of the Ukrainian Supreme Liber– gress of Free Ukrainians and the elec– in more than one country are allowed ation Council (abroad). tion of delegates to that international five delegates. conclave were the principal topics of a vins, who is confined in a con– meeting of the executive board of the At the outset of the meeting, which centration camp in the village of Rafa– Ukrainian Congress Committee of was convened by Mr. Oleksyn, UCCA livka in the Rovensk oblast, has been America here at its headquarters Sat– executive vice-president, Mr. Bazarko accused of anti-Soviet agitation in the urday, August 26. informed of the personnel changes in camps. The secret police is currently the executive board. He said the new selecting witnesses for the trial from Details of the Third WCFU, which Ukrainian National Association repre– among criminal prisoners.
    [Show full text]
  • Ukrainian Village Weddings; Collected in Central Ukraine. 1998
    Ukrainian Village Weddings; Collected in Central Ukraine. 1998 Natalie Kononenkoy University of Virginia The Ukrainian village wedding is a complex affair with many important functions. It cements the union between the bride and the groom, establishing them as a new unit which will help perpetuate not only their respective families, but the whole village. The wedding contains fertility symbols to insure that the couple will bear children. It serves to honor the parents who reared the young people about to wed. Just as the wedding serves many functions, so it contains many moods. There is solemn religious expression and there is a great deal of frivolity and merry-making. The revehy that is part of the wedding is itself multifunctional. It balances the solemnity of the serious part of !he wedding and the rigors of farming, bringing all participants, which often means a good part of the village, closer together. It subverts the normal order of life in the village, permitting theft, open eroticism, and disrespect for people in authority. It also contains ancient sacrificial overtones which actually emphasize the value of certain authority figures, specifically the parents. I will concentrate on the role of the parents in the wedding and especially in the tsyhanshchyna or "gypsy fest," the day of revehy, which follows the wedding proper. The tsyhanshchyna, during which the parents are abused, serves both to subvert the power of the parents and to confirm it. Furthermore, wbat is done to the parents bas many of the elements of an agrarian festival, a ritual to insure crop fertility.
    [Show full text]
  • Rushnyky Exhibitions Sacred Ukrainian Textiles
    Museum of Russian Icons Traveling Rushnyky Exhibitions Sacred Ukrainian Textiles The exhibition contains four “A house without a rushnyk is not a home.” sections, each explore a different theme: — Ukrainian proverb 1) Section one of the exhibit explores the history of he word rushnyk derives from ruka, “hand,” and while it can refer to Rushnyky as well as the tools an ordinary towel, the ceremonial rushnyk is distinct in its used to create them in both ornamentation and its importance. Their typical placement over icons historical and contemporary T and on crosses over graves and at the sites of holy wells indicates their sacred contexts. status. The belief in the protective strength and sacred nature of these 2) Section two invites visitors textiles is tremendously ancient. The talismanic properties of the rushnyk are to examine the various styles reinforced by woven or embroidered motifs at each end. and techniques used in embroidered textile and the regional styles of woven In almost any Ukrainian home, the family icons—and, more recently, family Rushnyky. photographs—would be draped with rushnyky. They are believed to offer protection to family, home and village. When honored guests are greeted, 3) Section three highlights the spiritual and symbolic bread and salt are presented on outstretched hands that are covered with a significance of the tradition by rushnyk. Rushnyky are used in binding rituals, invoke fertility, and function displaying a series of rushnyky as an opening to the sacred realm. The cloths appear in all family rituals, created for specific infants are wrapped in them at birth and they play a significant role in circumstances such as betrothal and wedding ceremonies.
    [Show full text]
  • The Ukrainian Weekly, 2019
    INSIDE: l Chicago exhibit honors the Heavenly Hundred – page 4 l Review: Selected poems by Serhiy Zhadan – page 9 l Ukrainian Pro Sports Update: Soccer – page 17 THEPublished U by theKRAINIAN Ukrainian National Association Inc., a fraternal W non-profit associationEEKLY Vol. LXXXVII No. 13 THE UKRAINIAN WEEKLY SUNDAY, MARCH 31, 2019 $2.00 Russian court orders Pavlo Hryb Uncertainty gives diplomats and investors to be imprisoned for six years jitters about presidential election in Ukraine Father laments ‘death sentence’ RFE/RL Ukraine.” In a statement, it also urged Russian authorities to provide Mr. Hryb A Russian court has sentenced ailing with medical treatment. 20-year-old Ukrainian Pavlo Hryb to six Foreign Affairs Minister Pavlo Klimkin years in prison after convicting him of “pro- blasted Russia as Ukraine’s “invader” and moting terrorism,” a charge he contends an “aggressor state” that does not know the was fabricated by the Federal Security concepts of “mercy, humanity, and dignity.” Service (FSB). “The Russian pseudo-judiciary has sen- Mr. Hryb’s father, Ihor, condemned the tenced the seriously ill Pavlo Hryb to six March 22 verdict as a “death sentence for years in prison,” Mr. Klimkin tweeted. “I Pavlo... who needs an urgent medical oper- urge the civilized world to put pressure on ation in order to live.” the Russian Federation to ensure his “If there is no urgent action, we will see speedy release.” his death within a month,” Ihor Hryb told [Editor’s note: The U.S. State Current Time, a Russian-language network Department’s deputy spokesperson Robert led by RFE/RL in cooperation with VOA.
    [Show full text]