Taken together, Khersonskii’s posts imagine a future multilingual society that recognizes the civic obligation of understanding and speaking Ukrainian. His own bilingualism, meanwhile, helps mitigate language conflict by modeling flexibility within individual linguistic practice.

Immediately after Euromaidan, Khersonskii began to reflect on his own precarious position as a Russophone patriot of Ukraine who had published his poetry primarily in Moscow and St. Petersburg.

In 2018, Boris Khersonskii, Ukraine’s most famous Russian-language poet, wrote on Facebook—in Ukrainian: “My credo is: in Odesa, obstruct the Russian language gently, but oppose boorishness on the part of Russian cultural stars decisively. I write this as a mostly Russophone person.” What triggered this turn against Russian by one of its most sophisticated artistic users? Is the shift to Ukrainian in Khersonskii’s linguistic practice consistent and irreversible? And, if a leading Russophone poets takes such a dim view of the language, can the end of Russian-language literature in what the Russian state arrogantly calls its “near abroad” be far behind?