Natura morta (in Ukrainian)

“Winkler does not invent reality but transforms what he sees into fiction fixed in language. He also plays — though this is sometimes hard to believe given the dense textual fabric and painful themes. For example, Natura morta splits into 'pictorial' and 'cinematic' parts. In the first — a sprawling baroque picture of the Eternal City as an Eternal Market — we encounter Stilleben, almost a Flemish sketch of life, dead flesh, and countless black, sad goat heads with curved horns, contrasting with lively, cheerful, and lustful butchers in endless vignettes of red chicken combs and Italian language. Then suddenly we are in a Pasolini film, where there is church, prohibition, sex, and drama, from which the narrator distances himself through sudden perspective shifts, cold highlighting of details, sudden plot twists… effectively showing that ‘the rest is literature.”