From left, Arevik Ashkaroyan, Mikheil Tsikhelashvili, Astghik Harutyunyan, Luka Lashkhi, Sofia Pokorchak

FRANKFURT, Germany — Armenia was present again this year at the Frankfurt Book Fair (FBF), the most important such exhibition worldwide, with a new, expanded display. The enlarged stand provided ample space to showcase new titles, in Armenian as well as foreign language translations. And on Friday, October 17, the third day of the five-day fair and the first open to the public, Armenia presented a new book to visitors.

An estimated 200,000 people came to the fair this year. In addition to the pavilions hosting 4,000 publishers from 90 countries, as well as the guest country — this year, the Philippines — the FBF offers exhibitors the opportunity to let authors talk about their latest creations in open foyers located between the large pavilions.

The new release presented by Arevik Ashkaroyan of the ARI Literature Foundation, Last Night on Earth: War through Women’s Gaze: Stories from Armenia, Georgia and Ukraine, is a graphic essay, a format which has been rapidly gaining popularity. The authors are Armenian Ani Asatryan, Georgian Ekaterine Togonidze, and Ukrainian Vira Kuryko. Illustrators Astghik Harutyunyan, Luka Lashkhi, and Sofia Pokorchak, from the three countries, respectively, were chosen through a competition. They, as well as editor Mikheil Tsikhelashvili were present at the round table.

The book is the product of the EU Creative Europe Programme, a consortium of partners from the three countries. This project, dedicated to development of the comic genre, is titled Visual Stories from Armenia, Georgia and Ukraine. Open to comics artists and writers, it seeks to develop the genre through seminars and training sessions in all aspects of the production process, from writing and illustration, to financing and marketing. This book, as its title shows, aims at depicting the experience of women in war, their role in it and how it impacts their lives.

“The River of People,” by Georgian writer Ekaterine Togonidze, was, as illustrator Luka Lashkhi said, “inspired by real people, and shows what chaotic lives they had to lead in times of war.” The author’s aim was to present “a slice of life” in wartime.

Ukrainian illustrator Sofia Pokorchak also stressed that her country’s contribution was based on real life events. Entitled, “Last Night on Earth,” it tells the story of a woman whose husband was on the front lines. At intervals, she would travel from the city to see him at a meeting point near the front. That was safe at the time, a year or so ago, but now the front lines have changed and it is no longer possible to meet there, because the entire area has been reduced to ruins.

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Many in the audience were surprised when they heard editor Tsikhelashvili say that none of the three authors had been readers of graphic literature before they joined the project. This meant that considerable discussion would be required. “They were used to writing works of 200 pages or more!” he noted. “And now we were asking them to turn in a manuscript of no longer than 30 pages.” He related how Ukrainian writer Vira Kuryko told him she was not an author at all, and asked if she could simply tell him her story and he would write it down. This he did. Then, as far as the illustrators were concerned, they faced the challenge of translating the narratives into images. The final publication has already appeared in print in several languages, including English and those of the authors.

Moderator Arevik Ashkaroyan, who admitted she had not been a comics reader either and discovered that the genre dealt with serious issues, asked the contributors about the situation in their respective countries. “What impact do these comics have in your countries?” she asked. The Ukraine-Russia conflict is well known internationally, but “what about Armenian and Azerbaijan? What do Georgians think about the conflicts in Abkhazia and Ossetia?” According to Pokorchak, the situation in Ukraine had changed radically in the last two years. Areas that earlier were safe are now danger zones. She cited the case of a musician who had been used to performing in concert halls, and now found himself in battle. The graphic essays, she said, “are effective in depicting the war the reality of war in an uncomplicated, easy manner.”

Lashkhi added that the story from Georgia begins with the Abkhazia war in the 1990s, then deals with the conflict in 2008. The story is presented in parallel to the political conflict and chaos being played out on Georgia’s domestic front.

Editor Tsikhelashvili said the last war in 2020 led to a process of readjustment. He stressed that nearly all Armenians come from families of survivors of the 1915 genocide and, as a result, their experience of current day conflict evokes memories of the past. In Armenia, he noted, comics were non-existent until recently, but now they are slowly becoming popular.

To understand the situation in present day Georgia, Lashkhi said, “One must realize that for the last 30 years we have been living under authoritarian rule. There are demonstrations occurring daily, and for us it is a matter of being an active part of this protest process, being engaged in the opposition.”

This unique book represents a first-hand account of how women have experienced conflicts involving their nations. And the fact that the editor himself is a descendant of witnesses and participants in the Second World War has given him a special insight into their experiences. In his Preface, Tsikhelashvili recalls hearing from his grandmother about her father’s fate: a prisoner of war in Italy, he was later returned to the USSR, where he was arrested as an “enemy of the people,” and died soon thereafter. And yet, he writes, “This book is not a war diary. You will rarely hear the rattle of gunfire or the shattering of homes. This book is about the emotional memory and the scars war leaves in the mind –suffocating flashbacks, strange breakfasts during sieges, newborns on overcrowded migrant boats turned into myths, war’s poison spiraling through the DNA like a generation’s genetic curse. And love and empathy – irrational, desperate, but the last forces keeping us alive in war’s tight grip. For many of us, making this book was survival itself. We clung to these stories as the world around us collapsed and betrayed every one of us.”

The book is available from www.komorabooks.com.

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